
Class _A 

Book X3 2*__ 

Copyright N°__ 

COFVR1GHT DEPOSIT. 



Home and School 
Sewing 



BY 

FRANCES PATTON 

The Normal School for Girls 
Philadelphia 



TEACHERS' EDITION 



NEWSON & COMPANY 

FIFTEEN EAST SEVENTEENTH STREET, NEW YORK 



THE LIBRARY OF 

CONGRESS, 
Two CoHt«* Received 

OCT. 11 1901 

COPVR»QHT ENTRY 

CLASS Ct XXc, No. 

copy a 






-. 



Copyright, 1901, 
By FRANCES PATTON. 



PREFACE. 



Seventeen years ago sewing was introduced into the 
Philadelphia Public Schools. During these years Miss 
Kirby, xlssistant Superintendent of Schools, has conducted 
monthly meetings of the teachers of sewing, in which were 
freely discussed methods of making and teaching the vari- 
ous seams, and all matters pertaining to the subject. 

In order that the best method of instructing the children 
in classes might be secured, experiments were made and 
reported upon, the teachers being encouraged to express 
their difficulties and tell their successes ; thus placing the 
experience of the entire force at the disposal of each 
individual. 

The lessons in this book are mainly the outgrowth of the 
practical suggestions mentioned above, tested and worked 
out many times by the author in the schools under her 
charge, together with the careful study of books on the sub- 
jects treated. 

Special acknowledgment is due to Miss Helen Fair- 
child Kinsey for the assistance she has given in illustrating 
the book. 



CONTENTS. 



Preface 3 

Illustrations 7 

I. Preparation for Sewing : Cutting— Needles, Thim- 
bles, and Thread— To Thread a Needle— To Make a 
Knot— To Learn the Use of the Thimble. ........ 13 

II. Basting : Even Basting— Uneven Basting— Basting 

Used in Dressmaking 20 

III. Hemming : General Suggestions— Folding and Bast- 

ing of the Hem — Measure or Gauge for a Wide 
Hem — To Turn a Wide Hem — Napery or French 
Hem — Polled Hem — Back Hemming 24 

IV. OVERSEAMING 32 

Y. Punning Seam 35 

YI. Backstitching : The Backstitched Seam— Back- 
stitch and Three Punning Stitches — Half Back- 
stitching 37 

YII. Overcasting 41 

YIII. Facings 43 

IX. Slip-Stitching : Milliner's Hem 45 

X. The Fell : French Fell— English Fell— Overseam 
and Fell — German Hemming or German Fell — 

Reversible Seam or Counter Hem 48 

XL The Gusset : Strengthening Tapes 58 

XII. The Placket. . . . 63 

XIII. Cording and Piping 65 

XIY. Bindings . . . , 67 

XY. Mitred Corners : To Mitre the Corners of a Hem. . 69 
XYI. Cutting and Piecing on the Bias : To Cut a Bias 

Strip— Bias Piecing 72 



Contents. 

Page 
XVII. Gathering : French or Dress Gathering— Gathering 
for Kuffles, Frills, Flounces, etc.— Gathering with 
a Shell Edge— Shirring- Whipping a Ruffle— Sew- 
ing the Ruffle to the Garment — Plaiting 75 

XVIII. Bands : Bands Sewed by Backstitching and Hem- 
ing — Band Hemmed to the Gathers— Band Over- 
seamed to the Gathers 88 

XIX. Darning : Dress Darning— Straight Tear— Angular 
Dress Darn — Strengthening Darn— Bias Darn- 
Stocking- Web Darn — Stocking Darning— Filling 

in the Darn — Kid Glove Mending 94 

XX. Patching: Another Way of Patching— Catch- 
Stitched Patch 107 

XXI. Tucking 117 

XXII. Fastenings : Buttonholes — Buttons — Loops- 
Hooks and Eyes— Eyelet Holes 120 

XXIII. Decorative Stitches : Feather or Brier Stitch— 

Catch-Stitch — Blanket Stitch — Chain-Stitch— 
Cable-Chain Stitch — Outline or Stem-Stitch — 
Cross-Stitch — Hemstitching — French Knot or 
Seeding— A Fan of Stitches 137 

XXIV. A Lesson in Economy 152 

XXV. Color in Fabrics 155 

XXVI. A Chapter on Materials : Silk— Varieties of Silk 
Cloth— Cotton— Preparing Cotton for the Mar- 
ket — Cotton Goods — Linen — Linen Materials — 
Wool— Varieties of Wool— The Principal Wool- 
en Cloths — Other Materials Used in Clothing. . . 158 
XXVII. Tools Used in Sewing : Pins— Needles— Scissors- 
Thimbles 1 79 

Teachers' Manual— Table of Contents 187 

6 



ILLUSTRATIONS. 



Page 

1. Position of scissors when cutting — 14 

2. The inside and outside of the crease 15 

3. True and straight 15 

4. The needle drill 17 

5. The needle and thimble in position 19 

6. Even basting. . 20 

7. Uneven basting 21 

8. Basting on lined skirts , . . 22 

9. The needle in position for beginning the hem 25 

10. The hem partly done 26 

11. Joining the thread in hemming 27 

12. Napery or French hem 28 

13. Rolling and whipping the hem 29 

14. Back hemming, a stitch used in sewing on braids 30 

15. Proper position of the work in overseaming 33 

16. Uneven basting for a running seam * 35 

17. The proper position of the work in making a running 

seam , 36 

18. Beginning to backstitch 37 

19. Backstitching partly done 38 

20. A seam made with a backstitch and three running 

stitches 39 

21. A seam finished with overcasting 41 

22. Slip or blind stitching with the needle in position . 45 

23. Milliner's hem 47 

24. The plain fell basted 48 

25. Sewing the first part of plain fell.. 49 

26. Plain tell completed 50 

27. French fell 52 

7 



Illustrations. 

Page 

28. English fell, showing the turning of the edge and sew- 

ing of the first part ; 53 

29. Overseam and fell, showing how the edges are turned . 55 

30. Steps in preparing the gusset 58 

31. Wrong side of gusset when completed 60 

32. Right side of gusset when completed 60 

33. Strengthening tape ready to sew on a garment 61 

34. Strengthening tape sewed to a garment 61 

35. The placket . . , . 64 

36. Cording with material extending to be used as a facing, Q6 

37. Material cut and sewed 69 

38. A mitred corner , 69 

39. Mitred corner cut and ready for first turn of hem . . 70 

40. Mitred hem basted 70 

41. Material cut on the bias, such as would be required in 

making underclothing 73 

42. Material folded on a true bias < 73 

43. Bias strips in position before joining. 73 

44. Bias pieces sewed together 74 

45. Gathering stitches. Centre of material marked by notch 76 

46. Gathering drawn up with pin in position 77 

47. Stroking the gathers 78 

48. French or dress gathers 79 

49. Gathering forming a shell edge 82 

50. Shirring 84 

51. Overseaming a whipped ruffle to a garment 85 

52. Plaiting , 87 

53. A band cut with pieces extending for button and but- 

tonhole (to be folded over on the crease) 88 

54. Gathers basted to band ready for backstitching 89 

55. Band completed 90 

56. Band basted to the gathers ready for first hemming 92 

57. Band overseamed to French gathers 93 

58. Basting defining length and width of darn 96 

59. Dress darn (begin to darn at A) 96 

60. Preparation for darning when material is ragged 97 

61. Corner of angular dress darn 97 

8 



Illustrations. 

Page 

62. Strengthening darn 99 

63. Darning a bias tear 99 

64. Stocking- web darn 100 

65. Position of the left hand in stocking darning. 102 

66. First part of the darn, showing the outline 103 

67. Weaving the darn (the shape of darn a square on its 

diagonals) 104 

68. Weaving the darn (round in shape) 105 

69. Method of turning corners of the patch 108 

70. Sides and corners of the patch turned 108 

71. First basting of the patch 110 

72. Patch basted ready for second hemming Ill 

73. Calico patch properly matched 112 

74. Catch-stitched patch, right side 113 

75. Catch-stitched patch, wrong side 114 

76. The wrong side of an overseamed patch with the edges 

overcast 115 

77. Gauge or measure used in making tucks 118 

78. Showing the position of the measure while basting the 

tucks 119 

79. Needle and thread in position while making the button- 

hole stitch 121 

80. Buttonhole scissors . 122 

81. Showing the spacing of the buttonholes on the back of 

the waist . 123 

82. Buttonhole strip in position 124 

83. Overcasting and barring the buttonhole 125 

84. Buttonhole completed . . . . , 127 

85. Various methods of sewing on buttons 128 

86. Sewing on the button (position of the pin) 129 

87. Loops showing the needle in position 131 

88. Showing the method of sewing a loop on a towel 133 

89. Sewing on hooks and eyes 134 

90. Single and double brier stitch 137 

91. Catch or herringbone stitch 139 

92. Seam pressed open and raw edges catch-stitched on 

each side to the flannel 140 

9 



Illustrations. 

Page 

93. Both edges of the seam pressed to one side and catch - 

stitched 140 

94. Seam pressed open and catch-stitched down the centre 141 

95. Buttonhole or blanket stitch, with the needle in position 142 

96. Buttonhole stitch unevenly spaced 143 

97. Showing how the buttonhole stitch may be varied 143 

98. Buttonhole stitch used in fancy work 144 

99. Chain stitch 145 

100. Outline or stem-stitch 145 

101. Cross-stitch used in marking . 146 

102. Letters for marking 147 

103. Hemstitching (the needle in position) 149 

104. French knots 150 

105. A fan of stitches.. ... 150 

106. Cotton ready to be picked 163 

107. The cotton fibre 164 

108. The wool fibre 170 

10 



Home and School Sewing. 



TEACHERS' EDITION. 



Home and School Sewing. 



I. PREPARATION FOR SEWING. 

Cutting. 

Before learning to sew, you will need to know how to 
cut. Pieces of cloth, to be made into a garment, must first 
be cut into such shapes that when rightly joined together 
they will form the garment you wish to make ; and the cut- 
ting apart is as important as the joining together. The 
edges must be smooth, not ragged, and the lines of a pattern, 
whether curved or straight, must be followed exactly, or the 
seams will not be well made, no matter how well the sewing- 
is done. 

Materials. — For your first lesson in cutting you will 
need these materials : Scissors ; a ruler or tape measure ; 
some manila paper. 

Scissors consist of two small blades fastened together 
by a screw or pin on which they move. Illustra- 
tion No. 1 shows the parts of the scissors, and you should 
learn the names of these parts and notice that one blade is 
narrow and pointed and the other wider and blunt. Scissors 
should be held in the right hand, preferably with the 
pointed blade dow r n. The thumb should be thrust through 

the upper handle and the third finger through the lower, 

13 



Home and School Sewing. 




III. 1.— Position of Scissors when Cutting. 

while the first and second fingers support and guide the 
scissors in cutting. Take the scissors in your right hand 
and open and shut them until you control them easily. 

A tape measure is ordinarily used for measuring cloth, 
but for the first lessons a ruler will do very well. Try to 
get a mental picture of a foot and an inch and their parts, 
and of a yard and its parts. 

Draw lines on the blackboard as nearly an inch, a quarter 
of a yard, a half yard, and a yard in length as you can, 
until by looking at a piece of cloth or of paper you can 
guess very nearly how long it is. Learn how many inches 
there are in a yard, a half yard, and a quarter yard. Learn 
what fractional parts of a yard are represented by 27, 18, 
9, 4^, and 2^ inches. 

Xow you are ready to use the cutting tools. In learning 
to cut, paper answers the purpose of cloth very well. 

Take your manila paper, and place the long side of it 

14 



Home and School Sewing. 





III. 2.— The Inside and Outside of the Crease. 



parallel with the front edge of your desk. Double over 
towards you a strip an inch wide across the long edge of the 
paper and run your finger over the fold, making a crease. 
Open the fold out and feel both the inside and outside of 
the crease. See Illustration No. 2. 

Place the paper flat on the desk, with the inside of the 
crease up, to prevent the scissors from slipping to one side 
in cutting. Cut along the crease, cutting the entire length 
of the blade. To make several 
short cuts would result in a ragged 
edge. 

Hold up the cut edge, first ver- 
tically and then horizontally, and 
see if it is true and straight. See 
Illustration 'No. 3. 

Crease and cut the strip of 



III. 3.— True and Straight. 
(Strips one inch wide.) 



15 



Home and School Sewing. 

paper into half and quarter inch strips, following the direc- 
tions given above each time you crease and cut. 

When you can do this task perf ectly, cut a strip of paper 
two inches wide into fringe an inch and three quarters long, 
making the threads of the fringe of equal width. 

When you have learned all this, you will be able to cut 
materials according to a drafted pattern. 

Needles, Thimbles, and Thread. 

Although you have learned to cut, you are not yet ready 
to begin to sew. First of all, learn how to sit. Your body 
should be w r ell back in your chair, with your head erect. 
Both feet should rest on the floor, and your elbows should 
be held at the sides of your body, with the w r ork not too 
near your eyes. 

The next steps are to thread a needle, to tie a knot in the 
end of a thread, and to baste. 

Materials. — For this lesson you will need: A No. 3 
or 'No. 4 needle ; ]STo. 40 cotton ; a pair of scissors ; a thim- 
ble ; a small piece of muslin. 

Always use the end of the thread just broken from the 
spool to thread the needle. Measure the thread across your 
chest for the length. Adopt the tailor's method of using 
short strands for quick work. If the end of the thread is 
blunt, thin it out with the blade of the scissors and then 
twist it ; if it has a long, thin fibre at the end, cut it off. 

To Thread a Needle. 

1. Hold the needle up in the left hand. 

2. Hold the thread up in the right hand. 

16 



Home and School Sewing. 




(2) 



III. 4.— The Needle Drill. 
17 



Home and School Sewing. 

3. Put the thread towards the eye of the needle. 

4. Pass the thread through the eye of the needle. 

5. Carry the thread over. 

6. Make a knot. 

7. Hold the needle up in the right hand threaded. See 
pictures on the preceding page, Illustration No. 4. 

A knot is used only in basting, in gathering, in the vari- 
ous stitches required on flannels, and sometimes in sewing 
on buttons. 

To Make a Knot. 

1. Hold the needle threaded in the right hand. 

2. Take the end of the thread between the thumb and the 
first finger of the left hand. 

3. Stretch the thread tightly, wind it around the top of 
the first finger, and cross it over the end held between the 
finger and thumb. 

4. Then roll the first finger down the thumb, carrying 
the thread with it about a half inch, and with the nail of 
the second finger push the knot thus formed to the end of 
the thread. 

5. If there is an end of thread, cut it off. 

To Learn the Use of the Thimble. 

1. Raise the right hand holding the needle between the 
thumb and the first finger, bringing the thimble finger 
(middle finger of the right hand) into position ; the eye of 
the needle resting against the back of the thimble. See 
Illustration No. 5. 

2. Lift the left hand with the muslin held over two fin- 
gers and push the needle into the muslin, making a stitch. 

18 



Home and School Sewing. 




Tll. 5.— The Needle and Thimble in Position. 

3. Draw the thread through with the thread over the 
little finger. Do not use a knot in this exercise. 

A thimble, to fit comfortably, should touch the top of 
the finger, but should not be loose enough to fall off. 

Note. — It is impossible to give the number of the needle and cotton to 
be used in the various seams, because as the work advances materials 
change and, of course, needle and thread must change with them. 

19 



II. BASTING. 

Basting is a preparation for sewing, and is intended to 
keep the material in place while the sewing is being done. 

In even basting, the stitches and spaces are the same 
length. It is sometimes called equal basting. 

In uneven basting, the stitches are longer than the 
spaces. 

In basting two pieces together, keep the materials, if 
they are large, flat on the table; if they are small, baste 
over two fingers. 

Before sewing on trimmings, baste them in place very 
carefully so that there will be neither fullness of trimming 
nor drawing of the fabric. 

Work is never properly finished until the basting stitches 
are ripped out. 




III. 6.— Even Basting. 
20 



.•CsCCm' •M«V,« rv *'H 



Home and School Sewing. 




III. 7.— Uneven Basting. 

In ripping the basting out of velvet or cloth, cut the 
thread every few inches, as the pulling out of a long thread 
leaves marks. 

In learning to baste, soft cotton of a contrasting color 
is advisable, as it is easier to take out and to distinguish 
from the ordinary sewing. 

Materials. — The materials required in this lesson are : 
A piece of unbleached muslin 12 inches square; a No. 7 
sharp needle; No. 50 cotton (red); scissors; a ruler or 
tape measure. 

Even Basting. 

1. Examine and describe the sample furnished you by 
the teacher. 

2. Make a drawing of it on the blackboard. See Illus- 
tration Xo. G. 

3. Find the length of the stitch and space by measuring 
the stitch on the sample. 

4. Hold the material over the first two fingers of the 

left hand. 

21 



Home and School Sewing. 




III. 8.— Basting on Lined Skirts, etc. 

5. Begin at the right-hand side of the material. 

6. Begin with knot and backstitch. 

7. Make stitches and spaces one-fourth of an inch. 

8. Continue basting until work assigned is completed. 

9. Fasten the thread securely by a backstitch. This is 
sometimes called a fastening stitch. 



Uneven Basting. 

This basting forms a guide line in sewing just as the 
blue lines on paper guide us in writing. 

1. Hold the material over the first two fingers of the left 
hand. 



2. Begin with a knot and backstitch. 



3. Make the stitch three-fourths of an inch long. 

4. Space to be as short as possible. 

5. Fasten with one or two backstitches. See Illustration 

No. 7. 

22 



Home and School Sewing. 

Basting Used in Dressmaking.* 

In basting skirts with lining, or garments where large 
spaces are to be covered/ a slanting stitch may be used. 
In this kind of work, point the needle towards you and take 
as large a stitch upon it as possible. This is sometimes 
called tacking. In doing this work, keep your materials 
flat on the table. See Illustration No. 8. 



*For advanced work. 

23 



III. HEMMING. 

A hem is a fold turned down twice, used to strengthen 
and finish the material on which it is placed. 

The two turns of the hem are called the fold of the hem. 

A notched card may be used as a guide in turning wide 
hems. This is called a measure or gauge. 

Exactness and uniformity in the size, slant, and space 
between the stitches are necessary to insure beautiful hem- 
ming. 

While you are learning, hems should be made across the 
muslin. 

The turning of the hem may be practiced on paper be- 
fore working it on muslin. 

Materials. — The materials required for this lesson are : 
A piece of muslin (12 inches square) ; "ground downs" or 
"between" needles ; cotton of a suitable number (Xo. 50 red 
preferred) ; scissors; a ruler or tape measure. 

Folding and Basting of the Hem. 

1. Hold the muslin up with the selvage edge at the 
right side. Pupils without a selvage edge on their piece 
of muslin will hold it up so that the line (drawn by the 
teacher) runs vertically. 

2. Make the first turn of the hem one-fourth of an inch, 
creasing it from right to left. (Special care should be given 

24 



Home and School Sewing. 




III. 9.— The Needle in Position for Beginning the Hem. 



to this turn, as the evenness of the hem greatly depends 
on it.) 

3. Make the second turn of the hem one inch ; begin to 
turn it at the right-hand side and crease it by laying it in 
plaits between the thumb and first finger of the right hand. 
(Never crease it by stretching across from side to side.) 

4. Test the results with an inch measure. 

5. Baste close to the edge with even basting, as in the 
picture. See Illustration No. 9. 

6. Avoid using knots. 

7. Hold the hem straight around the first finger of the 
left hand. 

8. Pointing the needle towards the right, put it through 

the fold of the hem only. See Illustration No. 9. 

25 



Home and School Sewing. 




III. 10.— The Hem Partly Done. 



9. Draw the needle through, leaving about one-half an 
inch of thread. 

10. Tuck the end of the thread under the fold of the 
hem. 

11. Make two stitches through the fold of the hem, and 
turn the needle towards the thumb nail of the left hand. 
These stitches take the place of a knot. 

12. Take up a few threads of the muslin and the fold 
of the hem at each stitch (that is, through three thick- 
nesses of the material). 

13. Draw the needle out and continue to make the 
stitches close and slanting. See Illustration No. 10. 

14. Train the eye to know when the stitch is uniform in 

slant, size, and space. 

26 



Home and School Sewing. 

15. Finish the hem by taking two or three stitches on 
top of each other, and then slip the needle under the hem 
as far back as three stitches before cutting the thread. 

To mexd the thread, if there is no end left, rip out a 
few stitches and tuck the end of the thread under the fold. 
Start the new thread as in commencing; tuck the end of 
the new thread under the fold of the hem and secure both 
ends with the next stitches. See Illustration £To. 11. 

Measure or Gauge for a Wide Hem. 

1. Measure the desired length at the edge of a card, and 
make a straight cut into the card. 

2. Below this, cut at an angle so as to take out a three- 
cornered piece. 




III. 11.— Joining the Thread in Hemming. 
27 



Home and School Sewing. 

To Turn a Wide Hem. 

1. Make the first turn as in the narrow hem. 

2. Crease the second turn of the hem by placing the 
straight cut of the gauge to the edge of the fold of the hem 
and turn it the width of the gauge. 

3. Turn about a half yard in this manner, and then go 
back to the beginning and test it as you baste it. 




III. 12.— Napery or French Hem. 



Mistakes Likely to be Made in Hemming. 

1. Upright stitches caused by not holding the work in 
the right position and not giving the needle sufficient slant. 

2. Stitches not uniform in size. 

3. Stitches irregular in space. 

4. Tncorrect mending of the thread. 

5. Hem not turned accurately. 

28 



Home and School Sewing. 

Napery or French Hem. 

This hem is used for hemming tablecloths, napkins, etc. 
Housekeepers are beginning to realize that the hemming 
of fine table linen with a sewing machine is far from sat- 
isfactory. 

Materials. — The materials required in learning this 
lesson are : A napkin or a piece of linen ; needles, "be- 
tweens" or "ground downs" No. 9 ; cotton, white, No. 70. 

1. Make the first and second turn as in an ordinary 
narrow hem. 

2. Then fold it back at the line of the first turn. 

3. Hold the hem towards you. 

4. Sew it like an over seam. See Illustration No. 12. 

5. Open it out and rub it flat. 

Rolled Hem.* 
A rolled hem is frequently used on the edges of ruffles, 
handkerchiefs, etc., particularly where the material is very 




III. 13.— Rolling and Whipping the Hem. 

* Advanced work. 

29 



Home and School Sewing. 




III. 14.— Back Hemming— A Stitch Used in Sewing on Braids. 



fine and a lace edge is to be sewed on, and in sewing lace 
and needlework insertions together. The stitch used in 
this case is often referred to as whipping. 

Materials. — The materials required are : Some sheer 
fine material, either linen or cotton ; cotton No. 80 or 100 ; 
needles, "ground clowns" or "betweens" ]STo. 9 or 10; 
scissors. 

1. Trim off all frayed edges. 

2. Hold the wrong side of the material towards you. 

3. Begin at the right-hand side and rub an inch of the 
material upwards and downwards between the thumb and 
first finger until you feel a small roll. 

4. Do this with the left hand, pressing the material 
firmly while making the roll. 

5. Roll about two inches at a time. 

6. Sew with a long, slanting stitch somewhat similar to 
hemming ; the needle being held at the same angle, but in- 
serted under the roll and brought out at the top. 

30 " 



Home and School Sewing. 

7. Do not make the stitches quite as close as in hem- 
ming. See Illustration Xo. 13. 

8. Keep rolling the hem a little in advance of the sew- 
ing. 

9. If lace is to be sewed on, sew both lace and hem 
at one time. 

Back Hemming.* 

This hemming stitch, on account of its strength, is par- 
ticularly adapted to sewing braids and facings on skirts. 

Materials. — These materials will be required : A hem 
basted; heavy silk or cotton; needles No. 8. 

1. Begin with a small knot, tuck it under the hem or 
facing, and instead of taking the needle forward each time, 
take it a short distance back of where the thread came 
through last. See Illustration No. 14. 

2. The stitch may be a good-sized one, but it must not 
show through on the right side. 



♦Advanced work. 

31 



IV. OVERSEAMING. 

Overseaming is sometimes called overlianding or top 
sewing, and it gets its name from the manner of making it. 

In sewing, hold the muslin between the thumb and the 
first finger of the left hand. 

Never sew this seam with the material over the first 
finger, as it causes the side towards you to pucker. 

In making the stitch, take up as little of the muslin as 
possible ; depend on the closeness rather than on the depth 
of the stitch for strength. 

Materials. — The materials required are : A practice 
piece of muslin; "ground downs" or "between" needles; 
scissors; cotton (red) ; a ruler or tape measure. 

1. Measure one and a half inches from the last seam 
and cut the muslin. (All seams to be made one and a half 
inches apart.) 

2. Make a turn one-fourth of an inch on the wrong side 
of each piece. 

3. Place the material together with the right side of each 
piece out so that the edges and ends are exactly even. 

4. Baste close to the edge with even basting. 

5. Do not use a knot. 

6. Sew from right to left, 

7. In beginning the seam, point the needle towards you, 
taking it through the edge of the muslin nearest you ; leave 

32 



Home and School Sewing. 




III. 15.— Proper Position of the Work in Overseaming 



an end of the thread, and leave this end on the top of the 
seam. 

8. Sew over it (through both edges) for about a half 
inch ; trim off the end of the thread and continue sewing 
the seam. See Illustration No. 15. 

9. In joining or mending the thread, leave half an inch 
of the old thread. 

10. If the thread breaks short, open a few stitches. 

11. With the point of the needle draw the thread out of 
the edge nearest you. 

12. Put the newly threaded needle through the hole 
where the old thread came out. 



<8\ 



33 



Home and School Sewing. 

13. Leave a half inch of the new thread (no knot) to be 
sewed down with the old one. 

14. Finish the seam by sewing back on the last three 
stitches. 

15. Take out the bastings and rub the seam with the 
thumb nail until it is perfectly flat. 

16. If the seam is a long one, especially if it is made on 
selvage edges, great care is necessary to prevent it from 
puckering. This may be avoided by beginning at the cen- 
tre and sewing towards each end. 

Practical work. — Iron holders, pillow cases, pin cush- 
ions, bibs, and oversleeves may be made by using this seam. 

Mistakes Likely to be Made in Overseaming. 

1. Edges turned unevenly. 

2. Seam puckered. 

3. Beginning and ending insecure. 

4. Stitches too deep or too far apart. 

5. Seam not flattened out. 

34 



V. RUNNING SEAM. 

A running seam is made by taking the needle in and out 
of the muslin, keeping the stitches and spaces the same 
length. It probably is so called because it is a rapidly 
made seam. It resembles even basting on a small scale. 

Always sew below the basting. 

Materials. — The materials required are : A practice 
piece cut one and a half inches from the last seam; sharp 
needles ; red cotton ; scissors ; ruler or tape measure. 

1. Place the muslin together with the wrong side of each 
piece out. 

2. Keep edges and ends exactly even. 

3. Baste one-fourth of an inch from the edge with un- 
even basting. See Illustration No. 16. 



MMnMX"<i<W» ' ' VI. ii >/•... 




III. 16.— Uneven Basting for a Running Seam. 
35 



Home and School Sewing. 




III. 17.— Proper Position of the Work in Making a Running Seam. 



4. In sewing, hold the material between the thumb and 
the first finger of each hand. See Illustration 'No. 17. 

5. Do not use a knot. 

6. Leave a half inch of thread and begin the seam with 
two backstitches. 

7. Sew from right to left, taking the needle in and out 
at regular intervals. 

8. Sew directly under and close to the basting. 

9. Fasten the thread by taking two or three backstitches 
at the end. 

10. Mend the thread by drawing the old thread through 
to the wrong side, and by bringing the new thread up from 
the wrong side ; go back over the last two stitches, beginning 
with a backstitch. 

36 



VI. BACKSTITCHING 



The Backstitched Seam. 

This stitch probably derives its name from the fact that 
the needle is taken backward in making each stitch. It is 
frequently called "a whole-back-stitched seam." "Back" 
tells ns the kind of a stitch and "whole" or all the way, the 
distance back. 

The stitch resembles a machine stitch on the right side. 

There is no space between the stitches. 

This seam is used for joining seams, for strengthening 
and ornamenting the various parts of a garment, and for 
sewing on tapes. 

Materials. — These materials will be required : A prac- 
tice piece cut one and a half inches from- the last seam; 




III. 18.— Beginning to Backstitch. 
37 



Home and School Sewing. 




III. 19.— Backstitching Partly Done. 

"ground downs" or "between" needles; red cotton; scis- 
sors ; ruler or tape measure. 

1. Prepare and baste as for running seam. 

2. Do not use a knot. 

3. Hold the work around the first finger of the left hand. 

4. Sew from right to left. 

5. Leave a half inch of thread and begin with two back- 
stitches. 

6. Sew by taking a short stitch to the right, and then 
taking a stitch twice as long to the left on the wrong side of 
the seam. Make one stitch at a time. Or, bring your 
thread through at 1 (see Illustration No. 18), take your 
needle back to 2 and bring it out again at 3 ; the distance 
between 1 and 3 being the size of the stitch that is to fol- 
low. 

7. All stitches must meet on the right side of the seam. 
See Illustration No. 19. 

8. Be careful to keep the stitches uniform in size. 

9. In fastening the thread take the needle through to 

38 



Home and School Sewing. 

the wrong side and make two stitches through the last ones 
made. 

10. Mend or join the thread the same as in Fanning 
stitches. 

Mistakes Likely to Occur m a Backstitch Seam. 

1. Spaces left between stitches. 

2. Stitches crooked; a number of stitches made on the 
top of each other instead of always bringing the needle out 
beyond the thread. 

3. Want of uniformity in the size of the stitch. 

Backstitch and Three Running Stitches. 

This seam may be varied by increasing or decreasing 
the number of running stitches. It is used when a seam 
somewhat stronger than a running seam is required. 

Materials. — The materials required are: A practice 
piece cut one and a half inches from the last seam ; sharp 
needles ; cotton ; scissors ; ruler or tape measure. 




III. 20.— A Seam Made with a Backstitch and Three Running Stitches. 

39 



Home and School Sewing. 

1. Arrange material and baste as for running seam. 

2. Begin as for the running stitch with two backstitches. 

3. Make three running stitches. 

4. Make one backstitch. 

# 5. The last stitch will naturally cover the space to the 
right of it. See Illustration "No. 20. 

Half Backstitching. 

Half backstitching is made in the same manner as back- 
stitching, except that the needle is taken halfway back in- 
stead of all the way back to the last stitch. 

It is more rapidly done than the backstitch. 

Materials. — The materials required are : A practice 
piece cut one and a half inches from the last seam ; "ground 
downs". or "between" needles; cotton; scissors; ruler or 
tape measure. 

1. Prepare material and baste as for running seam. 

2. Begin by leaving a half inch of thread and making a 
backstitch. 

o. Take one stitch at a time. 

4. Make the stitch halfway back to the last one. 

5. Continue the seam, giving close attention to the uni- 
formity of the stitch and space. 

40 



VII. OVERCASTING. 

Overcasting is used to finish the raw edges of a seam and 
to keep it from raveling. In overcasting a lined dress 
waist, first press open the seams very carefully, then turn 
in the raw edges of the material and lining to meet each 
other, and overcast the turned edges with sewing silk ; or 
the edges may be trimmed off and overcast without turning 
them in. 

Materials. — The materials required for this lesson are : 
A practice piece, using any one of the seams just made; 
sharp needles ; cotton ; scissors. 

1. Take out all bastings and trim off all frayed edges. 

2. Begin at the right-hand side with two small back- 
stitches. 




III. 21.— A Seam Finished with Overcasting. 
41 



Home and School Sewing. 

3. Point the needle through the muslin towards the 
thumb of the left hand, as in overseaming. 

4. Make the stitches one-eighth of an inch down and 
one-fourth of an inch apart. 

5. Take the stitch over both edges of the goods. 

6. Do not draw the thread tightly. See Illustration No. 
21. 

7. Overcast with the grain or weave of the material. 

8. To join the thread, put the needle between the edges 
of the seam, take it through the hole made by the last 
stitch, and make a small backstitch. 

Mistakes Likely to Occur in Overcasting. 

1. Incorrect slant. 

2. Irregular space. 

3. Stitch too deep. 

4. Cotton drawn too tightly, thus curling the edge and 

spoiling the appearance of the seam. 

42 



VIII. FACINGS. 

A facing is a fold placed on the edge of a garment to 
take the place of a hem. 

Facings are frequently cut on the bias. Garments are 
usually faced on the wrong side. 

Materials. — The materials required for learning to 
make facings are : A dress or petticoat requiring a facing ; 
a facing three or four inches wide and of the desired 
length; sharp needles; cotton; scissors; ruler or tape 
measure. 

1. Turn the garment right side out. 

2. Place the right side of the facing to the right side of 
the garment (edges exactly even). 

3. Hold the facing towards you, being careful not to 
full it. 

4. Baste one-fourth of an inch below the edge with un- 
even basting. 

5. Sew with a backstitch and one running stitch directly 
below the basting. 

6. Take out the basting threads. 

7. Fold it over on the wrong side, being careful to keep 
the seam on the edge, but do not let it show on the right 
side. 

8. Place the skirt flat on the table and baste it through 

the middle of the facing with uneven basting. 

43 



Home and School Sewing. 

9. Turn clown the opposite edge of the facing one-quar- 
ter of an inch and baste it close to the edge with even 
basting. 

10. Hem or slip-stitch according to the material. 

11. Press the edge of the facing with a cool iron. Do 

not move the iron rapidly, but allow it to rest for a short 

time on the place to be pressed. 

44 



IX. SLIP-STITCHING.* 

Slip or blind stitching is a method of sewing a hem or 
trimming by invisible stitches. It has probably derived 
its name from the fact that the needle is slipped between 
two pieces of material and joins them together by a long 
and a short running stitch, which cannot be seen on either 
side. 

Slip-stitching requires much practice and delicate hand- 
ling of the material ; puckering and insecure stitching 
being common faults. 

Careful pressing of the hem with a cool iron will im- 
prove its appearance. 




III. 22.— Slip or Blind Stitching, with the Needle in Position. 



♦Advanced work. 



45 



Home and School Sewing. 

Materials. — These materials are required : A piece of 
flannel or common cloth of sufficient size to illustrate the 
lesson ; fine sewing silk ; sharp needles ^N"o. 9 ; tape measure. 

1. Fold and crease a hem one inch wide. 

2. Baste about one-fourth of an inch from the edge with 
even basting. (If the material is wiry, it will be necessary 
to baste each turn separately. ) 

3. Make a very small knot. 

4. Hide the knot by taking the needle through the under 
part of the fold, close to the end. 

5. Take up two or three threads of cloth, and before 
drawing the needle through take one-fourth of an inch of 
the under edge of the fold. See Illustration No. 22. 

6. Bring the needle out at the edge; draw the thread 
gently. 

7. Fasten the end of the thread securely. 

Mistakes Likely to Occur in Slip-Stitching. 

1. Stitches which show through on the right side. 

2. Hem not properly prepared, and consequently some- 
what twisted when finished. 

Milliner's Hem.* 

A milliner's hem may be considered a sort of blind stitch- 
ing ; it slightly resembles a catch stitch, but does not cross 
at the angles. 

It is much used in securing the edges of velvet and simi- 
lar fabrics. 

Materials. — The materials required are the same as for 
slip-stitching. 

♦Advanced work. 

46 



Home and School Sewing. 




III. 23.— Milliner's Hem. 



1. Turn down the hem one inch. (This hem is only 
given one turn.) 

2. Hold the hem upside down. 

3. Take a small stitch through the turn of the hem. 

4. Take another small stitch, a little forward and 
through the material, just above the hem. 

5. These stitches must not show through on the right 
side. 

6. Work from right to left. 

7. Continue in this manner, being careful to draw the 
thread lightly. See Illustration Xo. 23. 

8. Fasten with a backstitch. 

Mistakes Likely to Occur in Milliner's Hem. 

1. The stitches showing on right side of garment. 

2. Stitches made too close together. 

3. Hem twisted, especially if made on the bias. 

47 



THE FELL. 



A plain fell is a flat, smooth seam between two pieces of 
fabric made by putting two pieces of material together 
with one edge extending beyond the other and hemming 
the extended edge down. 

In lower grades, the plain fell should be made on un- 
bleached muslin ; in higher grades, a narrower fell, both 
bias and straight, should be made and bleached muslin 
used. 

Hem a fell cut on the bias by beginning at the wide 
part of the garment and sewing towards the narrow part. 

A fell may be made by sewing it with the edges even, 
and then trimming off the lower edge. 

Materials. — The materials required are: A practice 




III. 24.— The Plain Fell Basted. 
48 



Home and School Sewing. 



^C 




III. 25.— Sewing the First Part of Plain Fell. 

piece cut one and a half inches from the last seam ; "sharp"' 
needles for the first part and ''ground downs" for the sec- 
ond part of the seam ; cotton ; scissors ; ruler or tape 
measure. 

1. Place the muslin together with the upper edge ex- 
tending one-fourth of an inch above the lower edge. See 
that the edges are kept parallel. 

2. Place the wrong side of each piece out. 

3. Baste with uneven basting one-eighth of an inch be- 
low the lower edge. See Illustration Xo. 24. 

4. Sew with a backstitch and three running stitches close 
to and under the basting. See Illustration ]STo. 25. 

5. Take out the basting. 

6. Open the work out flat and rub it the entire length of 
the seam to prevent it from forming a fold on the right 
side. 

7. Turn down the edge that extends one-eighth of an 
inch on the wrong side. 

(4) 49 



Home and School Sewing. 

8. Press the turn down flat and baste it with even 
basting. 

9. Finish with hemming. See Illustration No. 26. 

Note.— The second basting is sometimes omitted, and the edge is turned 
under with the point of the needle as it is hemmed. 

Mistakes Likely to Occur. 

1. Badly prepared fell, the width being unsuitable to the 
garment. 

2. A puckered and clumsy, instead of a neat and flat, 
appearance on the right side. 

French Fell. 

In a French fell the frayed edges are completely hidden, 
and no stitches show on the right side. When finished, it 




III. 26.— Plain Fell Completed. 
50 



Home and School Sewing. 

looks like a ridge or a cord, and is particularly satisfac- 
tory on curved or bias seams. 

Pupils can baste the second part of the French fell with 
greater accuracy if they hold it up between them and the 
light while doing it. 

The difference between a plain and a French fell will be 
seen from this table : 



Plain Fell. 

1. It should be placed 
together with the wrong 
side of each piece out. 

2. One edge to extend 
one-fourth of an inch be- 
yond the other. Ends even. 

3. Baste with uneven 
basting one-eighth of an 
inch below the lower edge. 

4. Sew the first part of 
the seam with three run- 
ning stitches and a back- 
stitch. 

5. Turn down the edge 
that extends and finish with 
hemming. 



French Fell. 

1. It should be placed to- 
gether with the right side of 
each piece out. 

2. The edges and ends 
exactly even. 

3. Baste with uneven 
basting one - eighth of an 
inch below the edge. 

4. Sew the first part of 
seam with one running and 
one backstitch. 

5. Turn the seam on the 
wrong side and finish with 
backstitching. 



^Materials. — The materials required for the French 
fell are : A practice piece as prepared' for other seams ; 
"ground downs" or "between" needles; cotton; scissors; 
ruler or tape measure. 

51 



Home and School Sewing. 




III. 27.— French Fell. 



1. Place the material with the right side of each piece 
out and the edges and ends exactly even. 

2. Baste with uneven basting one-eighth of an inch 
from the edge. 

3. Sew with a backstitch and one running stitch direct- 
ly under the basting. 

4. Take out basting. 

5. Trim off frayed edges. 

6. Rub the seam on the wrong side with the nail so 
that the sewing, when the seam is turned, may be kept 
at the edge. 

7. Turn the material over on the line of sewing so that 
the seam will be on the wrong side. 

8. Baste with uneven basting directly below the turns. 
Be careful that no frayed edges are seen on the right side. 

0. Sew with a backstitch. See Illustration No. 27. 

Practical, work. — A corset cover will give experience 

in making the French fell. 

52 



Home and School Sewing. 

Mistakes Likely to Occur in the French Fell. 

1. First part of the seam not brought to the top edge 
when basting for the second seam. 

2. Frayed edges of the first seam showing on the right 
side when finished. 

3. Seam too wide. 

English Fell. 

This is really a plain fell, differing principally in the 
method of turning and sewing the first part. It is useful 
in making up sheer muslins, lawns, and similar materials 
where quickness of sewing rather than strength of seam is 
desired. 

This seam does not require the second part to be basted. 

Materials. — The materials required are : A practice 
piece cut one and a half inches from the last seam; 
"sharps" for the first part and "ground downs" or "be- 





— - jf \ ^ /f |f & f "* % 



W f *T 



% 



s////,,,//, tilfk 




III. 28.— English Fell, Showing the Turning of the Edge and Sewing of the 

First Part. 

53 



Home and School Sewing. 

tween" needles for the second part of the seam; cotton; 
scissors ; ruler or tape measure. 

1. Turn down the edge of one piece one-eighth of an 
inch on the right side. 

2. Place the raw edge of the other piece to this fold 
with the wrong side of each piece out. 

3. Baste one-eighth of an inch below the lower edge 
with uneven basting. 

4. Sew with running stitches one-eighth of an inch be- 
low the lower edge. See Illustration ~No. 28. 

5. Press the turned edge down flat. 

6. Finish with hemming. 

Overseam and Fell. 

This is a particularly strong seam, and is often used for 
joining bias materials together. 

Materials. — The materials required are : A practice 
piece cut one and a half inches from the last seam; 
needles, "ground downs" or "betw 7 eens" ; cotton ; scissors ; 
ruler or tape measure. 

Paper may be used in practicing the folds necessary to 
make this seam. 

1. Put a double fold or turn on one side of the material, 
making the first turn one-eighth of an inch on the right 
side, and the second turn one-fourth of an inch back on 
to the wrong side. 

2. Turn the other piece one-fourth of an inch on the 
wrong side. 

3. Place the material together with the right side of 
each piece out. 

54 



Home and School Sewing. 




III. 29.— Overseam and Fell. Showing how the Edges are Turned. 

4. Baste with even basting. 

5. Overseam the two edges together. 

6. Flatten the seam out well. 

7. Turn the double fold over, and finish with a hem 
on the wrong side. See Illustration ~Ko. 29. 



German Hemming or German Fell. 

The German fell, like the plain fell, is made with two 
seams and does not show any frayed edges. 

Materials. — These materials will be required : A prac- 
tice piece cut one and a half inches from the last seam ; 
"ground downs" or "between" needles ; cotton ; scissors ; 
ruler or tape measure. 

1. Turn down one piece one-eighth of an inch on the 
right side. (This represents the upper half of the seam.) 

2. Turn down the other piece one-eighth of an inch on 
the wrong side. (This represents the lower half of the 
seam.) 

55 



Home and School Sewing. 

3. Then place the lower fold just to the raw edge of the 
upper fold. 

4. Baste with even basting. 

5. Hem along the edge of the lower fold. 

6. Turn the upper fold over, and hem it down like an 
ordinarv fell. 



Reversible Seam or Counter Hem. 

A reversible seam is a flat seam hemmed on both edges. 
It probably derives its name from the manner of turning 
it ? or from the fact that a garment made with this seam 
may be worn either side out. 

Time may be saved by practicing the turning and pla- 
cing of the seam on paper before attempting it on muslin. 

This seam is sometimes stitched instead of hemmed. 

Materials. — The materials required are : A practice 
piece cut one and a half inches from the last seam ; "ground 
downs" or "between" needles ; cotton ; scissors ; ruler or 
tape measure. 

1. Turn down the edge of one piece one-eighth of an 
inch on the wrong side. 

2. Turn clown the edge of the other piece one-eighth of 
an inch on the right side. 

3. Place the two folds one on top of the other, so that 
the frayed edges will not show on either side. 

4-. Place one inch together at a time; hold it up to the 
light in order to detect any crookedness. 

5. Baste through the centre of the seam. Take an oc- 
casional backstitch to prevent the cloth from slipping 

56 



Home and School Sewing. 

while being sewed. On woolen goods baste across the 
seam from edge to edge like this: 



G. Hem first on the right and then on the wrong side. 

Common Mistakes ix the Reversible Seam. 

1. Edges turned unevenly. 

2. Seam basted so that it will not have straight edges. 

57 



XI. THE GUSSET. 

A gusset is a small piece of material inserted in a gar- 
ment for the purpose of strengthening or enlarging some 
opening where there is likely to be more or less strain. 

On flannel garments where a gusset would be too bulky 
a strengthening tape is frequently used. 

It is next to impossible to tear the bias folded edge of 
the gusset. 

The beauty of the gusset depends on the exactness with 
which it is put in and the care taken in finishing it. 




2 

\\ 



lu. 






Ijaj. 30.— Steps in Preparing the Gusset. 1. Material Out of Which the Gusset is 

to be Made. 2. Folded Once. 3. Folded Twice to be Cut on Upper 

Fold. 4. Shape when Opened. 5. Ready to Tlace in Vent. 

58 



Home and School Sewing. 

Materials. — The materials required for this lesson 
are : A practice piece in which a vent has been made ready 
for a gusset ; a j)iece of muslin one and a half inches 
square, out of which the gusset is to be made; "between" 
needles ; cotton ; scissors ; tape measure ; a piece of paper 
or cloth ten inches square and having right and wrong 
sides, so that the process of folding the gusset may be 
learned easily. 

1. Fold the square of paper on its diameter. Describe 
and draw the shape (an oblong or rectangle). 

2. Fold it again ; it will now form a square one-fourth 
the original size. 

3. Fold one of these squares on its diagonal. 

4. Open out and cut across this diagonal. Make a draw- 
ing of it as it now appears (a pentagon). 

5. Take the piece of muslin intended for the gus- 
set, which should be one and a half inches square, and 
repeat the steps taken on the paper. See Illustration 
Xo. 30. 

6. Turn down the corner of the gusset as in the patch. 
See page 108. 

7. Turn down the sides of the gusset one-eighth of an 
inch and baste this turn with even basting. 

8. Place the apex of the gusset (A) in the angle formed 
by the vent or seam (wrong side of the gusset to the wrong 
side of the seam). 

9. Begin at (A) by inserting the needle through both 
the gusset and the angle of the vent ; leave a long end of 
thread; overseam very neatly as far as (B). Fasten se- 

59 



Home and School Sewing. 





III. 31.— Wrong Side of 
Gusset when Completed. 



III. 32.— Right Side of 
Gusset when Completed. 



rarely and run the needle in and out of the muslin to keep 
it temporarily secure. 

10. Thread a new needle with the long thread left at 
(A) and overseam to (C). Flatten out the overseaming 
stitches and fasten the needle as before. 

11. Turn the gusset down on the wrong side of the gar- 
ment and baste it around with the thread left at (B). 

12. Then hem it with the thread left at (C) ; in this 
way avoiding the starting of a new thread during the 
process. See Illustration No. 31. 

13. The bias fold of the gusset may be stitched close to 
the edge to strengthen it and give it a finish. See Illustra- 
tion No. 32. 

60 



Home and School Sewing. 

Mistakes Likely to Occur i^t Making the Gusset. 

1. Badly prepared vent into which the gusset is to be 
inserted. 

2. Gusset carelessly inserted on the right side. 

3. Sides sewed unequally as regards length. 

4. General appearance not flat when finished. 

Note. — In preparing the vent for the gusset, be extremely careful to 
roll the hem towards the V part of the vent. 

Strengthening Tapes. 

A strengthening tape is used as a substitute for a gus- 
set, at the end of seams and vents especially in flannel 
garments. 

Materials. — The materials required are : A practice 
piece with a vent or seam same as for a gusset ; a piece of 




III. 33.— Strengthening Tape 
Ready to Sew on a Garment. 




III. 34.- Strengthening Tape Sewed 

to a Garment. 
61 



Home and School Sewing. 

tape half an inch wide and two and a half inches long- 
tape measure. 

1. Turn down a narrow fold on each end of the tape. 

2. Make one turn on the right and one on the wrong 
side of the tape. See (A) and (B) on Illustration No. 
33. 

3. Fold the tape in the middle like (C) on Illustration 
No. 34. 

4. Hold the wrong side of the garment towards you. 

5. Place the wrong side of the tape at (D) to the vent 
or seam. 

6. Pin the tape in position. 

7. Hem from (A) to (C) to (B) down on the garment. 

8. Then hem from (B) to (D) back to (A) without 

breaking the thread. Buttonhole stitches are sometimes 

used instead of hemming around the V part of the vent. 

62 



XII. THE PLACKET. 

A placket is an opening or slit made in the upper part 
of a petticoat or skirt for convenience in putting it on. 

A placket on a dress is frequently faced on the right- 
hand side with an extension hem attached to the left-hand 
side; the right-hand side should be lapped over at the 
bottom of the vent and stitched. 

The vent in a lady's skirt should be ten inches long, but 
in a petticoat it need not be as long where a yoke or deep 
waistband is used. 

Mateeials. — Materials required : The best material for 
this lesson is a skirt on which the placket is to be made; 
needles ; cotton ; scissors ; tape measure. 

1. Leave one of the seams of the skirt open the desired 
length, or 

2. If the seam is not in proper jolace for the placket, cut 
a vent the proper length ; cutting the vent with a thread 
of the muslin. 

3. Turn the skirt wrong side out. 

4. On the right-hand side of the vent, make a hem one- 
fourth of an inch wide, narrowing it to a point and rolling 
it at the bottom. 

5. On the left-hand side, make a hem three-fourths of 
an inch wide, keeping it the same width all the w T ay down. 

63 



Home and School Sewing. 



III. 35.— The Placket. 

6. Turn the skirt right side out ; the wide hem is now on 
the right-hand side and the narrow one on the left. 

7. Lap the three-fourths-of-an-inch hem over the nar- 
row one on the left-hand side at the bottom of the vent, 
and secure it by two horizontal rows of stitching, about 
one-fourth of an inch apart. See Illustration Iu>. 35. 

64 



XIII. CORDING AND PIPING.* 

Cording is used to strengthen and finish various parts 
of a garment, and is made by covering dress cord with a 
bias piece of material. The width of the bias strips de- 
pends on the thickness of the cord. Additional material 
must be allowed if the covering is intended to face the gar- 
ment as well. 

Materials. — The materials required are : Cloth cut 
on a true bias; needles, "sharps"; cotton; scissors; a piece 
of fine dress cord; tape measure. 

1. Place the cord on the wrong side of the bias strip. 

2> Let the end of the strip extend one-fourth of an 
inch. 

3. Fold the end of the bias strip, and then fold one 
edge over so that it meets the other. 

4. Baste with even basting close to the cord. . 

5. If it is intended to use the cording as a facing, con- 
sider this fact in preparing the material to cover it. Place 
the cord as above and turn the edge over so that one edge 
of the bias strip just covers the cord, the other edge extend- 
ing beyond it. See Illustration Xo. 36. 

6. Baste close to the cord. 

7. Holding the cord downwards, place the wrong side of 

♦Advanced work. 

(5) 65 



Home and School Sewing. 




III. 36.— Cording, with Material Extending to be Used as a Facing. 

the strip to the right side of what represents the garment, 
keeping the raw edge of the fold even with raw edges of 
the garment. 

8. Sew close to the cord with a backstitch. 

9. Fold the cording back to the wrong side, and press 
the garment evenly against it at the top, to make the cord 
set well at the edge. 

10. Hem the extended edge down on the wrong side for 
a facing. 

11. Do not allow the hemming stitches to show through 
on the right side. 

What is known as piping is merely an edge applied as 
a finish to bias folds, scanty ruffles, etc., and consists of 
a bias strip of contrasting or similar goods doubled, with 

the folded edge allowed to show. 

66 



XIV. BINDINGS.* 

A binding is used to strengthen and protect the raw 
edges of a garment by covering them with a folded tape, 
ribbon, braid, etc. 

Flannel binding is a thin kind of tape with a silky 
finish. 

Galloon or Persian binding has a silky finish, with a 
sort of a herringbone weave on the surface. 

These bindings come in various widths, half-inch being 
the most common. 

Materials. — The materials required for this lesson 
are : A piece of flannel one-half yard long ; a piece of skirt 
braid, ribbon, or Persian binding one-half inch wide; 
needles, "sharps" ; sewing silk or cotton, according to ma- 
terials ; scissors ; tape measure. 

1. Begin at the right-hand side. 

2. Place the binding on the edge of the flannel so that, 
when finished, one-third of the width of the binding will 
be on the right side and two-thirds on the wrong side of 
the garment ; or it may be made alike on both sides. 

3. Hold the binding firmly and ease the flannel in 
slightly, so as to keep the edges from puckering. 

4. Take a few running stitches across the end of the 
braid to prevent it from spreading. 



♦Advanced work 

67 



Home and School Sewing. 

5. Either hem or stitch it on the right side; afterwards 
hemming it down on the wrong side. Or it may be 
stitched, or sewed with a running stitch, directly through 
both edges. The latter method is used in binding the 
seams of dresses ; in this case the binding must be placed 
evenly on both sides. 

6. Another way is to lay the binding flat on the right 
side of the goods about one-sixteenth of an inch from the 
edge. 

7. Sew with a running and an occasional backstitch. 

8. Turn the braid over, press it down as flat as possible, 
and hem. it to the wrong side of the material. 

9. Be careful that the stitches clo not go through to the 
right side. 

10. In turning the braid over, it may be allowed to form 
a slight cord on the right side if desired. 

11. Before joining, take a few stitches across each end 
of the braid to prevent it from spreading. 

12. Then over seam the edges together. 

Note. — In binding flannel, the binding is sometimes basted on both sides 
and secured by feather stitching on the right side. 

Mistakes Likely to Occuk. 

1. The binding may be put on too loose, thus giving it 
a wrinkled appearance. 

2. The corners may be drawn or not tacked securely. 

3. The binding may not be placed far enough away 
from the raw edges of the material, thus causing it to 

break away when the flannel is washed. 

68 



XV. MITRED CORNERS. 

Tlie seam used in mitring corners is formed by joining 
two pieces of materials together, each cut at an angle of 
45 degrees, and sewing them so as to form a right angle. 

Materials. — These materials are required for this les- 
son : Two strips of material four inches wide ; needles, u be- 
tweens" or "ground downs'' ; cotton ; scissors ; tape 
measures. 

1. Fold the corners of the strips to be mitred on a true 
bias, and crease. 

2. Cut with the inside of the crease up. 





III. 37.— Material Cut and Sewed. 



III. 38.— A Mitred Corner. 



o. Place the bias ends together with the wrong side oi 
each piece out. See Illustration No. 37. 



69 



Home and School Sewing. 

4. Baste together with even basting one-fourth of an 
inch from the edge. 

5. Open the seam and see if it has been correctly placed. 

6. Sew with a backstitch directly below the basting. 

7. Press the seam open and trim the corners neatly. 
See Illustration No. 38. 



To Mitre the Corners of a Hem.* 

Materials. — These materials are required : A handker- 
chief or some similar article requiring a mitred corner; 
needles ; cotton ; scissors ; tape measure. 

1. Cut off the corner one-fourth of an inch deep. 

2. Fold the two sides down one-fourth of an inch and 
crease carefully. 

3. Crease each side down one inch from the edge of the 
first turn. 

4. Mark where the crease meets by a dot or pinhole. 





I ll. 39.— Mitred Corner Cut and 
Ready for First turn of Hem. 



III. 40.— Mitred Hem Basted. 



♦Advanced work. 



70 



Home and School Sewing. 

See Illustration Xo. 39 ? letter A representing dot or pin- 
hole. 

5. Open all the folds and make a diagonal crease across 
the corner one-fourth of an inch outside the spot marked 
by the dot A. 

6. Cut on the crease just made. See (B and C) on 
Illustration JSTo. 39 

7. Turn down the bias edge one-fourth of an inch. (Be 
careful not to stretch it.) 

8. Fold and baste the sides of the hern, making the two 
edges meet at a right angle. See Illustration ISTo. 40. 

9. Hem carefully, taking the stitches at the mitred cor- 
ner so that they will not show through, on the right side. 

10. Test your skill in this lesson by repeating the lesson 

on similar corners. 

71 



XVI. CUTTING AND PIECING ON THE BIAS.* 

Materials used as facings or bindings on curved edges 
are frequently cut on the bias, because when cut in this 
way they may be stretched to fit the curve. 

Bias material is often preferred in facing a straight 
edge because it makes a smoother lining than a straight 
strip of cloth. Ruffles are frequently cut on the bias. 

When several bias strips are required, they can be easily 
and accurately cut by first folding and cutting the material 
once on a true bias (that is, on a true diagonal line) ; then 
by making a paper measurement the width of the strips 
desired and dotting the material with chalk or pencil as it 
is measured. Cut by the dots. 

A garment cut with bias seams is generally spoken of as 
being gored. The object in goring any garment is to re- 
duce the weight by taking out all unnecessary material, or 
to improve the appearance by decreasing the fullness at 
the hips and waist, and increasing it at the bottom. In 
many cases it is an economical way of cutting. 

Materials. — The materials required in this lesson are : 
A piece of muslin eighteen inches square ; needles ; cotton 
and scissors ; tape measure. 

1. Fold the material so that the selvage or warp threads 



♦Advanced work. 

72 



Home and School Sewing. 

are on a line with one of the woof threads. See Illustra- 
tion Xo. 4:2. 

2. Crease the fold. Open it out with the inside of the 
crease up. 

3. Cut on the crease. 





III. 41.— Material Cut on a Bias. Such as III. 42. -Material Folded for Bias 
would be Required in Underclothing. Cutting. 

To Cut a Bias Strip. 

1. Hake a paper measurement the width of the strips 
wanted. 

2. Measure down from the cut edge the distance re- 
quired for the strip and dot at every four inches. 

3. Continue measuring and dotting row after row until 
a sufficient number of strips have been measured off. 

4. Cut on the line of dots. Or you may measure each 
end and mark it by drawing a chalked line across. 

III. 43.— Bias Strips in Position before Joining. 
73 



Home and School Sewing, 

Bias Piecing. 

1. With the wrong side up, place the strips on the desk 
in the proper position for sewing. See Illustration No 43. 

2. Place the pieces marked A and B with the wrong side 
of each piece out, the edges and ends that are to meet, 

even. 

3. Move the edge of the 
upper piece until it corre- 
sponds in position with Il- 
lustration No. 44. 

4. Hold the edges firmly; 

baste across from A to B 
III. 44.-Bias Pieces Sewed Together. ^ eyen basting / 

5. Open out the work on the desk and see if it is prop- 
erly placed together. 

6. Sew with a backstitch. 

7. Press open the seam and cut off the corners that ex- 
tend. 

8. Join the next piece in a similar manner. 

74 




XVII. GATHERING. 

Gathering is a stitch used to compress by the use of 
plaits or even wrinkles a portion of the material which re- 
quires to be drawn into a smaller space ; this is necessary 
to give ease and looseness to certain parts of garments. 

Double thread is used in gathering, in case one thread 
should break while the gathers are being placed. A double 
thread also helps to keep the gathers in place. 

The material to be gathered should be divided into 
halves, quarters, or eighths, according to its width. 

Materials. — The materials required in learning to 
gather are : Sharp needles ; cotton ; scissors ; pins ; a prac- 
tice piece twelve inches across the material ; tape measure. 

1. Find the middle of the edge to be gathered and mark 
the place by cutting a small notch. 

2. Use double thread (the length of the thread to be reg- 
ulated by the material to be gathered). 

3. Begin the gathering with a knot and several back- 
stitches. 

4. Hold the wrong side of the material towards you. 

5. Take up two threads on the needle and go over four; 
or, in other words, the material taken up on the needle 
should be one-half the quantity of that passed over. Threads 

75 



Home and School Sewin 



g- 




III. -45.— Gathering Stitches. Centre of Material Marked hy Notch. 



should not be counted after you become familiar with the 
length of the stitch. 

6. Take up as many stitches on the needle as possible 
and press them up against the thimble before drawing it 
through ; this helps to place the gathers. See Illustration 
Xo. 45. 

7. When the gathering is finished remove the needle 
from the thread and make a knot on the end of the thread. 

8. Place a pin vertically close to the last stitch. 

9. Draw the gathering thread up and wind it around 
the pin. 

10. Pull the gathers into place by holding the top edge 
with the left hand, and drawing the material down with 
the right, making a rotary movement while doing so. This 

will do away with the bunched appearance of gathers and 

76 



Home and School Sewing. 



will make them look like plaits ; it is good preparation for 
stroking. See Illustration No. 46. 

11. In stroking the gathers, use a rather coarse needle. 

12. Hold the work between the thumb and forefinger of 
the left hand, keeping the thumb below the gathering 
thread. 

13. Put the point of the needle under each stitch, hold- 
ing it obliquely. Make a short, quick stroke. See Illus- 
tration Xo. 47. 

14. Press the needle towards the thumb, bringing the 
little plait under the thumb and drawing the needle down- 
wards. 

15. Do not allow the needle to make a scratching sound 
when stroking, as there is danger of tearing the fabric. 

16. Stroke the material on the right side, as well as the 
wrong side, when necessary. 

The gathering is now ready to be sewed to the band. 




III. 46.— Gathering DraAvn Up with Pin in Position. 

77 



Home and School Sewing. 

Mistakes Likely to Occur iist Gathering. 

1. Material for gathering not properly prepared, so that 
the stitches run with the warp instead of the woof. 

2. Gathering stitches irregular. 

3. Materials scratched in stroking. 




III. 47.— Stroking the Gathers. 

French or Dress Gathering. 

French gathering is generally used in drawing up the 
fullness at the back of skirts, when a large quantity of 
heavy material has to be gathered into a small compass. 

The stitch and space may be increased according to full- 
ness, but care should be taken to retain correct propor- 
tions. 

This gathering, when drawn up, will form small plaits 

and does not require to be stroked. 

78 



Home and School Sewing. 




III. 48.— French or Dress Gathers. 



Materials. — The materials required are : A practice 
piece arranged so that there will be fifteen inches across 
the muslin ; needles, "sharps" ; cotton ; scissors ; pins ; tape 
measure. 

1. Hem the sides of the material. 

2. Fold down the top edge one-half inch on the wrong 
side. 

3. Mark the centre by a cross-stitch. 

'4. Use double thread a little longer than the material to 
be gathered. 

5. Make a knot on the end of the thread. 

6. Hold the right side towards you. 

7. Insert the needle through the edge turned down so 
as to bring the knot in between the fold and hide it. 

8. Make two overseaming stitches. 

9. Take up on the needle one-sixteenth and go over one- 
fourth of an inch. 

79 



Home and School Sewing. 

10. Gather as close as possible to the top edge. 

11. Remove the needle, but do not draw up the thread. 

12. Make the second row of gathering one-fourth of an 
inch below the first, taking each stitch directly beloiv the 
one above it. See Illustration ^so. 48. 

13. Remove this needle also. 

14. Take hold of both threads near the muslin, and 
gradually draw the gathers up to the required length ; they 
will now form distant plaits or flutes, and will not require 
any placing or stroking. 

The gathering is now ready to sew to the band. , 

Gathering for Ruffles, Frills, Flounces, etc. 

In making ruffles, care should be taken in sewing the 
various widths together, as the fullness causes the ruffle to 
flare and show the seams. 

In fine cotton goods, the seams should be made with run- 
ning stitches. In woolen material or silk, they should be 
sewed and then pressed open, and where they have cut or 
torn edges, and are disposed to fray, the edges should be 
overcast. 

The piece to be gathered should be taken from the width 
of the material, as the fullness is easier to arrange and the 
stroking has more effect upon the width than the length. 
Ruffles are frequently cut on the bias. 

One and a half is generally considered a sufficient 
amount of fullness for a ruffle. 

In turning a corner, put more fullness into the ruffle at 
that point to prevent it hooping at the edge. The rule is 
to allow twice the width of the ruffle. For instance, if the 

80 



Home and School Sewing. 

ruffle is four inches wide, put eight inches in fullness at 
the corner. 

When putting on a gathered flounce, never guess at the 
fullness being even. Measure the work off in sections, 
pinning the gathered piece at each section. By so doing 
you will avoid ruffles that are too full in one place and too 
skimpy in another. 

In many laces, such as Valenciennes, Torchon, etc., 
there will be found a thread close to the top which takes 
the place of a gathering thread, and by which the fullness 
can be arranged with great exactness. 

As it is important that the pattern in lace should show, 
it should be borne in mind that it requires very little full- 
ness, except at the corners. 

Materials. — The materials required are: A piece of 
muslin one-half yard long and five inches wide ; needles, 
"sharps"; cotton; scissors; tape measure. 

1. Mark with cross-stitches the half and quarter of your 
material the same as in other gathering. 

2. Hold the right or wrong side towards you, according 
as you will sew the ruffle when finished, to the right or 
wrong side of your cloth. 

3. Gather with ordinary running stitches, taking as 
many stitches on your needle as possible, and if the mate- 
rial is such as would require placing or stroking, press 
them up against the thimble before drawing it through. 

4. When doing practical work, never gather more than 
one-fourth of the entire ruffle on one thread. 

5. Place the gathers, if necessary, and arrange them to 
suit the place they are to occupy. 

(6) 81 * 



Home and School Sewing. 

Gathering with a Shell Edge. 

This sort of gathering is used generally on light-weight 
silk or woolen materials, and takes the place of a separate 
trimming at the top of a ruffle. 

A narrow ribbon gathered in this way will make a very 
pretty trimming for children's dresses. 

Match carefully the sewing silk or thread used, and 
guard against the forming of knots in the gathering thread. 

Materials. — The materials required are : A piece 
of challie, or other soft woolen material, eighteen 




III. 49.— Gathering Forming a Shell Edge. 



inches long and six inches wide; sewing silk or thread to 
match ; "sharp" needles ; pencil and ruler or tape measure. 

1. Turn down the top edge of the ruffle one inch on the 
wrong side. 

2. Baste it close to the edge with uneven basting. 

3. On the wrong side, beginning at the right-hand end, 

82 



Home and School Sewing. 

mark the top edge of the fold at every inch and a half with 
French chalk or pencil. 

4. Three-fourths of an inch below the top edge, and 
beginning three-fourths of an inch from the right-hand 
end, make another row of dots one and a half inches apart. 
These dots must alternate with those of the upper row. 

5. Begin with a small knot and several backstitches. 
(This knot should be hid under the turned edge if pos- 
sible.) 

6. Gather with small running stitches from dot to dot. 

7. Keep drawing the thread as you gather. See Illus- 
tration I^o. 49. 

Shirring.* 

Shirring is done by making any desired number of rows 
of running stitches parallel with each other. This is some- 
times done by running a very fine cord in a tuck and draw- 
ing the cord. 

Materials.- — The materials required are : A piece of 
material eighteen inches long and eight inches wide ; 
"sharp" needles ; scissors ; cotton ; tape measure. 

1. Begin with a small knot and backstitch. 

2. Decide on the number of rows wanted and the dis- 
tance apart of the gathering to be made.. 

3. Gather from right to left, keeping the rows parallel. 
-1. Use a single thread. 

5. Instead of gathering one row at a time, the entire 
number of rows may be begun and carried on simulta- 
neously. See Illustration Xo. 50. 

Note. — Mark the line for shirring with uneven basting if necessary. 

♦Advanced work. 

83 



Home and School Sewing. 

Whipping a Ruffle.* 

Whipping is used only in gathering very fine and sheer 
fabrics. 

Materials. — The materials required are: A strip of 
fine cambric or lawn eighteen inches long and five inches 
wide; a piece of similar material hemmed; cotton; 
"sharp" needles ; scissors ; tape measure. 

1. Hem the ends and bottom of the ruffle. 




III. 50.— Shirring. 



2. Mark by cross-stitches at the half and quarter lengths. 

3. Roll the edge. Follow the directions given for roll- 
ing the hem in the chapter on hemming. 

4. Use a small knot and single thread. 

5. Whip the edge as it is rolled, drawing the thread as 
every two inches are whipped. 



♦Advanced work. 



84 



Home and School Sewing. 

Sewing the Ruffle to the Garment. 

1. Place the wrong side of the ruffle to the wrong side 
of the garment. 

2. Pin the middle of the ruffle to the middle of the hem 
and quarter to quarter. 

3. Draw up the ruffle the required length and wind the 
thread around a pin. 

4. Hold the ruffle towards you and overseam with very 
fine stitches. See Illustration No. 51. 

Note. — Many persons prefer reversing the position of the needle in whip- 
ping a ruffle, that is, slanting the needle from the top down instead of from 
the underneath up. 




III. 51. -Overseaming a Whipped Ruffle to a Garment. 

Plaiting.* 
Plaiting is used where there is a large amount of mate- 
rial which should be brought into small compass and kept 
flat. 

* Advanced work. 



Home and School Sewing. 

Fashion often requires its use in ruffles, and in bring- 
ing the fullness in the back of a skirt into the band. 

In many materials, it is necessary to baste the plaited 
ruffle in two or three places and press it on the wrong 
side. 

Plaits can be lapped if it is necessary to bring a large 
amount of material into a very small space, as in the back 
of a skirt, 

They may be turned either to the right or to the left. 
Box plaiting is made by beginning at the centre and lay- 
ing a plait to the right and another to the left ; double box 
plaiting is made by laying additional side plaits. 

A niching or rose quilling may be made by cutting the 
material any desired width, on the bias, and plaiting it 
with a double box plait through the centre. 

Materials. — The materials required for this lesson 
are : A piece of material representing a ruffle, eighteen 
inches long and five inches wide. The material must be 
three times the length desired when finished; "sharp" 
needles ; cotton ; scissors ; tape measure. 

1. Place the material on the desk, with the right side 
up. 

2. Lay a plait in the material one-half inch deep. This 
makes three layers of material, each one-half an inch wide 
— the tw T o parts of the plait and the material on which it 
rests. 

3. Make a second plait in the material one-half inch 
deep, bringing it exactly to the underfold of the first plait. 
See Illustration No. 52. 

4. Continue laying the plaits in similar manner. 

86 



Home and School Sewing. 

5. Baste with even basting close to the top edge. 

6. Baste in the centre and lower edge if the material 
requires it. 

7. Press carefully on the wrong side before taking out 
the bastings. 

8. It is often necessary to tack the plaiting on the wrong 
side to keep it in shape and to prevent it from flaring; 
this may be done by using a heavy thread or tacking a 
line of tape to each plait ; these stitches must not show on 
the riffht side. 




111. 52.— Plaiting. 
87 



XVIII. BANDS. 

Bands Sewed by Backstitching and Hemming. 

A band is a flat, flexible strip of material on any article 
of dress, serving to strengthen and confine it. 

A band should always be cut with the warp of the mus- 
lin, as the cloth is stronger lengthwise than crosswise. 
Never leave the selvage edge on a band, as it makes it 
much harder to sew. 

Narrow bands are frequently cut on the bias. 

Materials. — The materials required are: A practice 
piece twelve inches across, gathered with the wrong side 
towards you and stroked; a band two and three-quarter 
inches long and tw r o and one-quarter inches wide ; scissors ; 
needles, "betweens" or "ground downs" ; cotton ; pins ; 
tape measure. 

1. Mark the middle of the band by folding it in half and 
cutting a very small notch in each edge. See Illustration 
JSTo. 53. 




III. 53.— A Band Cut with Pieces Extending for Button and Buttonhole 
(to be folded over on the crease). 



Home and School Sewing. 




III. 54.— Gathers Basted to Band Ready for Backstitching. 

2. Cut the band with a piece extending at each end for 
the purpose of strengthening it where buttons and button- 
holes are to be placed. 

3. Prepare the gathers by taking out the pin and loosen- 
ing them. 

4. Hold the wrong side of the gathered piece towards 
you ; place the right side of the gathers against the right 
side of the band, middle of band to the middle of the 
gathers, edges exactly even. 

5. Put a pin in vertically to hold them together in the 
middle. 

6. Pin the end of the gathers one-fourth of an inch from 
each end of the band. 

7. Adjust the gathers so that the fullness is evenly dis- 
tributed and they are the proper length for the band. 

S. Wrap the gathering thread around the pin. 

9. Hold the gathers towards you ; baste with even 

basting directly on top of the gathering thread. 

89 



Home and School Sewing. 

10. Sew directly under the basting with a backstitch. 
Take as short a stitch as possible. See Illustration No. 54. 

11. Fasten the ends of the gathering thread and take 
out the basting. 

12. Turn down the ends and other side of the band. 

13. Fold the band over so that it will just cover the 
line of stitching. 

14. Baste with even basting. 

15. Sew the ends with over seaming and the edges with 
hemming, beginning at A and overseaming to B, hem- 
ming to C and overseaming to D. 

16. Do not allow the hemming stitches to show through 
on the right side. See Illustration No. 55. 




III. 55.— Band Completed. 

Band Hemmed to the Gathers. 

A band such as would be used on a shirt sleeve or 

other fine needlework is hemmed to the gathers in the way 

described in this lesson. 

90 



Home and School Sewing. 

In preparing the gathering for this band, the material 
must be held with the right side towards you. 

Materials. — The materials required are : A practice 
piece of soft bleached muslin, twelve inches across, gath- 
ered with the right side towards you and stroked ; a 
band two and three-fourths inches long and two and one- 
fourth inches wide ; needles ; cotton ; scissors ; pins ; tape 
measure. 

1. Turn down the long edge of the band one-fourth of 
an inch. 

2. Mark the middle of the band by either a pin or a 
stitch. 

3. Hold the right side of the gathers toward you. 

4. Pin the middle of the edge of the band to the middle 
of the gathers each with the right side out. 

5. Pin the end of the gathers one-fourth of an inch 
from the edge of the band. 

6. Wrap the gathering thread around the pin. 

7. Adjust the gathers so that the fullness is evenly dis- 
tributed. See Illustration ^So. 56. 

8. Baste the band down with even basting. 

9. Hem on the right side, taking a hemming stitch 
through each gather. 

10. Turn the other edge and ends down, taking care 
that the edge of the band corresponds with the opposite 
side, in order that the band may not be twisted. 

11. Fold the band over so that it will just cover the 
gathering stitches. 

12. Baste with even basting. 

13. Finish by overseaming the ends and hemming the 

91 



Home and School Sewing. 



f^^iHjJ^A^ssS^ai 




III. 56.— Band Basted to the Gathers Ready for First Hemming. 

edge as in a band backstitched to the gathers. (Direction 
15 of the preceding lesson.) 

Band Overseamed to the Gathers. 

This band is generally used in lined skirts. If the skirt 
is very heavy, two overseaming stitches should be taken 
through each gather when sewing it to the band. 

Materials. — The materials required are: A practice 
piece, fifteen inches across, gathered with French gathers ; 
a band three inches long and two and one-half inches wide; 
scissors ; needles, "betweens" or "ground downs" ; cotton ; 
pins ; tape measure. 

1. Turn down the four sides of the band one-fourth of 

an inch. 

92 



Home and School Sewing. 

2. Fold the band over and baste the edges neatly. 

3. Find the centre of the band and mark it with a stitch. 

4. Place the centre of the band to the centre of the 
gathers. 

5. Band to be placed on the right side. 

6. The ends of the material gathered to the ends of the 
band. 

7. Fasten with a pin or loose overseaming stitch, the 
latter preferred. 

8. Wind the gathering thread around a pin. 

9. In sewing, hold the band towards you. 

10. Overseam the gathers to the band by taking a stitch 
through the front part of each little plait or flute. See 
Illustration 2so. 57. 

Mistakes Likely to Occuk ix Sewixg ox Baxds. 

1. Band twisted when finished. 

2. Incorrect slant to stitches. 

3. Gathers not evenly distributed. 

4. A lack of neatness ; general clumsy appearance. 




III. 57. 



-Band Ovei seamed to French Gathers. 
93 



XIX. DARNING. 

Dress Darning — Straight Tear. 

In darning, the parts of a fabric that are torn or sep- 
arated should be united by inserting new threads in a 
manner as nearly like weaving as possible. Quality, 
texture, and color should be considered in selecting mate- 
rials with which to darn colored or figured fabrics. Ex- 
amine the groundwork of the material and match the pre- 
dominating shade. 

In fine linen, the darning should be done before sending 
it to the laundry. 

If the material is much strained, it may be well first to 
draw the edges together with basting stitches, which should 
be taken out after the darn is completed, or to baste a piece 
of material under the torn place and darn the edges of the 
tear down on it. 

Materials. — The materials required in a darning les- 
son are : Needles, "sharps" or fine embroidery needles ; 
scissors; cashmere challie or some similar material to be 
darned ; tape measure. 

This table shows the threads that should be used in or- 
dinary darning: 

( Ravelings of the material (warp 

For darning woolen garments.. -< ^,, 

' Filoselle. 
94 



Home and School Sewing. 

( Linen floss 

For darning linen fabrics 1 or 

( Flourishing thread. 

( Cotton thread corresponding in 

For darning cotton fabrics < thickness with finest thread in 

f the fabric. 



i Hair 
1 or 
( Fine i 



For darning alpaca or mohair. 

silk. 

In all darning, a needle should be selected which will 
carry the thread easily. This thread is usually soft (that 
is, not twisted as tightly as ordinary thread) ; consequently 
there is a tendency to form a lump in the eye of the needle 
(if too fine), which has to be dragged in and out of the 
stuff, injuring not only the material, but also the thread 
or silk used in darning. 

Your materials being ready, proceed as follows : 

1. Baste an outline around the tear, beginning one- 
fourth of an inch above and continuing it the same dis- 
tance below. If the material is dragged or strained, it may 
be necessary to extend the outline and hold the material in 
shape with running stitches before beginning to darn. See 
Illustration No. 58. 

2. The width of the darn is determined by the width 
of the tear. (Half an inch is a good width for an ordi- 
nary darn.) 

3. Use short threads. Do not use a knot or backstitch. 

4. Hold the darn over the first finger of the left hand. 

5. Begin at A and make a horizontal line of very fine 
running stitches to B. 

6. Make a second row back to A, leaving a very small 

95 



Home and School Sewing. 



WH.^/^MlH»»O.IU«VU^1»((rvw«»« k * l ,,HM»U.»lfcnA».U,.u» M »*Kl^ 




III. 58.— Basting Defining Length and 
Width of Darn. 



III. 59.— Dress Darn 
(Begin to Darn at A). 



loop at the end of each row of darning to allow for 
shrinkage. 

7. The stitches and spaces in the last row must alter- 
nate with the stitches and spaces in the row above it. 

8. The edges of the tear should be picked up and 
dropped alternately. 

9. Continue the darning until the outline is filled with 
darning stitches. See Illustration Ko. 59. 

10. Darn on either the right or wrong side of the mate- 
rial, according to the fabric and part of the garment torn. 

Angular Dress Darn. 

In cases where the tear is much raveled, put a piece of 
material under the tear and darn the garment down on it. 

Cut the piece larger than the tear. Be careful to match 

the grain of the cloth as well as the figures and stripes in 

the material. 

96 



Home and School Sewing. 




III. 60.— Preparation for Darning 
when Material is Ragged. 



III. 61.— Corner of Angular Dress Darn. 



Draw the tear into place and baste the right side of the 
piece to the wrong side of the garment; match it exactly. 

If the hole is large, darn the sides of the tear separately, 
weaving the ravelings in as you come to them. 

After the darn is finished, tack the piece lightly to the 
garment on the wrong side, or cut it off. 

Materials. — Materials required : Same as for dress 
darning. See preceding lesson. 

The process is made easy by the help of the illustration 
O t o. 60). 

1. Outline darn by basting. 

2. While drawing the needle and thread through the 
material, hold the two edges of the tear firmly over the 
first finger of the left hand to prevent it from fraying. 

3. Begin at the angle marked 1 and make a row of run- 
ning stitches out to 2. 

4. Make a second row back to 1. 

(7) 97 



Home and School Sewing. 

5. Make a third row out to 3. 

6. Make a fourth row back to 1. 

7. Continue so doing until the triangle thus formed is 
completely filled, finally bringing the needle back to 1. 

8. Next make a row of stitches out to 4. 

9. Make the following row back to 1. 

10. Make a row to 2. 

11. Then a row back to 1. 

12. Continue until this triangle has been filled. See 
Illustration No. 61. 

13. After completing the corner, finish the darn in the 
same manner as in the lesson on the straight tear. 

14. Dampen very slightly and press on the wrong side. 

Strengthening Darn. 

This darn consists merely of several rows of running 
stitches running with the warp of the material, and is used 
to strengthen weak places where a hole has not actually 
been worn. It may be of almost any geometrical shape, 
that of a diamond being the most desirable, as in this shape 
the strain will not come on one line of weaving. See Il- 
lustration No. 62. 

Bias Darn. 

A bias darn is used in mending a cut or tear running 
across either the warp or woof. 

Materials. — The materials required for the lesson are 
the same as those for the straight darn. 

1. Outline the length and width of the darn, following 
the line of the tear. 

2. TJse short threads and begin without a knot. 

98 



Home and School Sewing. 










^ 4 »!>r.i J 





rrr~rrr n ' 



! J 




III. 62.— Strengthening Darn. 



III. 63.— Darning a Bias Tear. 



3. Begin darning at A, running the line of darning diag- 
onally across the warp of the material. See Illustration 
No. 63. 

4. Continue as in directions given for straight tear. 

Stocking- Web Darn. 

This darn is used on linen where an actual hole has 
been worn in the material. 

The bias and stocking-web darn are frequently used on 
table linens to repair holes made by the careless use of a 
knife. 

In this darn, the loops left along the edge are sometimes 
cut. 

Materials. — The materials required are : Needles, 
"sharps" or fine embroidery needles ; scissors ; linen floss, 
and a piece of table linen requiring mending. 

1. Trim off all loose or frayed edges. 



LofC. 



99 



Home and School Sewing. 

2. Begin as far outside the hole as is necessary to 
strengthen the fabric. 

3. Insert the threads representing the warp. 

4. Allow a loop to extend at each row of darning. 

5. Finish by weaving in the threads representing the 
woof. See Illustration No. 64. 

Mistakes Likely to be Made in Darning. 

1. The darn not extended far enough to cover worn 
place. 

2. The thread at the sides drawn instead of leaving a 
loop. 

3. The work not flat when finished. 

4. Carelessness in matching material for darning. 



"\vi' 



\ 



YAwM 





III. 64.— Stocking-Web Darn. 
100 



Home and School Sewing. 

Stocking Darning. 

Stocking darning is used to repair a hole in any fabric 
woven with the loop or stocking stitch. From its similar- 
ity to weaving, it is sometimes called hand weaving. 

The stocking should be darned on the right side of the 
foot and the wrong side of the leg. 

The size of the darn depends on the size of the hole and 
on the condition of the fabric around the hole. 

The shape may be either a square on its sides, a square 
on its diagonals, or rounded to conform to the shape of the 
hole. 

A darn in the shape of a square on its diagonals, or 
made to conform to the shape of the hole, is preferred be- 
cause in this way the strain is evenly distributed, each 
new thread of darning coming on a new line of weaving. 

Always darn holes as soon as they appear. 

A strengthening darn (stitches running lengthwise) is 
extremely useful for strengthening the toe and heel of the 
stocking; this should be put in as soon as the stocking 
shows signs of wear. 

Laces, especially those with a groundwork or founda- 
tion of bobbinet, are frequently mended by darning; in 
fact, many real laces are made by outlining or darning a 
pattern on some meshed material. 

Darning would not be considered such a task if it were 
looked upon as lace-making, which it is in a humble way. 

Materials. — The materials required are : A stocking 
which the pupil should bring from home ; a darning 
needle aSo. 6 (a medium number) ; darning cotton (must 
be selected to suit the stocking in both color and quality). 

101 



Home and School Sewing. 

Then proceed this way: 

1. Select a small hole as the one to be darned. 

2. Hold the left hand up, curving the first finger and 
thumb in the shape of the letter C. See Illustration No. 
65. 




III. 66. -Position of the Left Hand in Stocking Darning. 

3. Rest hands and try it again, repeating until you can 
hold the finger in position comfortably. 

4. Draw the stocking over the left hand, with the hand 
in this position. 

5. See that the weave representing the warp of the stock- 
ing runs parallel with the arm. 

6. Hold the stocking firmly, but not stretched, over the 

left hand, with the hole in the centre of the formed C. 

102 



Home and School Sewing. 




III. 66.— First Part of the Darn, Showing the Outline. 



7. Gather all extra fullness into the palm of the hand. 

8. Outline the size and shape of the darn by basting 
with uneven basting one-half inch outside the hole. The 
darn is frequently made the shape of the hole instead of a 
square on its diagonals. See Illustration No. 66. 

9. Begin at 1, pointing the needle from you, and make 
two small running stitches. 

10. Leave a half inch of thread; do not use a knot or 
backstitch. 

11. With the needle pointing towards you, make the 
next row of stitches, taking up the threads of the stocking 
that were passed over in the preceding row. 

12. So continue each row, letting the outline of basting 

103 



Home and School Sewing. 



stitches define the termination of each row, being careful 
to leave the thread loose at each end to form a loop to 
allow for shrinkage and elasticity of weave. 

13. When the hole is reached, take the stitches over one 
edge and under the opposite edge, reversing this when 
coining back on next row of darning. 

14. Continue making each row a little longer until 2 
and 3 are reached. (See Illustration 'No. 66.) Then de- 
crease in the same proportion to 4. 

Filling in the Darn. 

1. Begin weaving at No. 5 and pass the needle under 

the first stitch and over the second, under the third and 

over the fourth, and so on. In returning, pass over the 

threads taken up before and under the threads left down. 








' Q " tf 9 



*W- 




lUbii 



III. 67. -Weaving the Darn (the Shape of Darn a Square on its Diagonals). 

104 



Home and School Sewing. 

TFT"! 



„< i ..«\i,»*M.m (> . 




Ill- 68.— Weaving tlie Darn (Round in Shape). 

2. Keep each row of darning as close as possible to the 
preceding one. See Illustrations ^sos. GT and 68. 

3. In mending a large hole, smooth out the rough edges, 
then take a line needle and thread and overcast the edges, 
bringing them as near as possible to the proper position. 
Darn in the regular way. 



Threadixg the Xeedle. 

1. To thread a darning or zephyr needle, hold the needle 
between the thumb and first linger of the left hand. 

2. Fold a loop of the thread over the end of the needle. 

3. Withdraw the needle and pass the eye of the needle 

over the loop of the darning cotton. 

105 



Home and School Sewing. 



Kid Glove Mending. 
Materials. — The materials required are : Glover's 
needles, or No. 11 or 12 "betweens" ; fine cotton is pre- 
ferred to silk ; be careful to have the cotton match the glove 
in color. 

1. If the rent is very large and a piece of kid can be 
obtained to match, place the patch of kid on the wrong 
side of the glove with the right side of the patch to the 
wrong side of the glove. 

2. Hem the glove on the right side to the patch. 

3. Trim off all surplus kid on the wrong side. 

4. If the hole is small, or kid cannot be matched, make 
a buttonhole stitch around the edge of the hole. (See page 
121 for buttonhole stitch.) Do not pull the thread up 
tightly, or you will break the edge of the kid. 

5. Work a second row of buttonhole stitches through 
the purl edge of the first. 

6. Continue working row after row until the hole is 
completely filled up. 

7. Mend the seams when ripped with very fine over- 
seaming stitches. 

106 



XX. PATCHING. 

Patching is the art of restoring the worn parts of any 
garment by inserting better material. 

Good patching depends largely on a thorough under- 
standing of the rules and methods of making the garment. 
This is especially true in repairing all articles of clothing. 

Matching the Patch in Color and Fabric. 

Care must be taken to see that the patch agrees with the 
original fabric in color and quality; consequently new 
material in many cases had better be avoided, and material 
partly worn substituted. 

Materials invariably lose something of their original 
brightness of color and tint during wear, so that attention 
to these small details will amply repay the worker, as one 
of the primary principles of good patching is that the re- 
pair, when completed, shall be as little noticed as pos- 
sible. 

Patching Figured and Striped Materials. 

In patching striped or figured materials, match the pat- 
tern so that, when finished, the continuity of the design is 
unbroken. 

The warp of both garment and patch must run in the 
same direction. In patching, as far as possible, attach the 
patch to some seam. Sometimes it is possible to join all 

107 



Home and School Sewing. 

sides in this way, making the work not only stronger, but 
much neater. 

An invisible patch is valuable in more places than on a 
shoe. 

Patches of Different Shapes. 

Different shaped patches are frequently used ; such as 
circular, oblong, triangular, half-moon, etc. A half-moon 
patch is a most excellent shape to use in any case where 
the edge can be attached to the seam, especially where the 
strain is very great, as at elbows, knees of boys' trousers, 
etc. 

The size of the patch depends not only on the size of the 
hole, but also on the condition of the garment around the 
hole. All patches should be carefully pressed. 

Materials. — The materials required for a lesson in 
patching are : A practice piece, with a hole cut by the 




III. 69.— Method of Turning Corners 
of the Patch. 



III. 70.— Sides and Corners of the 
Patch Turned. 



108 



Home and School Sewing. 

teacher previous to the lesson ; a patch four inches square ; 
cotton ; scissors ; a ruler or tape measure ; "ground downs" 
or "between" needles. 

1. Hold up the patch with the right side towards you. 

2. Turn the corners down one-fourth of an inch on the 
right side. See Illustration 1^0. 69. 

3. Next turn down the sides one-fourth of an inch. See 
Illustration Xo. 70. 

4. Hold it up when finished with the turns towards the 
teacher. 

5. Place the practice piece or garment on the desk with 
the wrong side up. 

(Find the centre of the patch by folding it on its 
diameters. ) 

6. Place the right side of the patch on the wrong side 
of the garment or practice piece. 

7. See that the centre of the patch is over the centre of 
the hole, with the warp of the two pieces parallel. 

8. Baste close to the edge with even basting. See Illus- 
tration No. 71. 

Begin to baste in the centre of one side. 

9. Begin to hem in the same place. (By so doing the 
square appearance of the corners is preserved.) 

10. Be careful to hold the patch in the correct position 
while hemming it. (The patch, which represents the fold 
of the hem, must turn towards the point of the finger.) 

11. Turn the material over, with the right side up. 

12. Measure on the right side three-fourths of an inch 
from the sewing of the hem. 

13. Draw a square on its sides. (Use a lead pencil.) 

109 



Home and School Sewing. 




III. 71.— First Basting of the Patch. 

14. Cut out the material on the lines drawn. In this 
way you get rid of the worn material around the hole. 

15. Make a diagonal cut at each corner. 

16. Turn the edges under with the needle, keeping the 
corners perfectly neat and square. 

17. Baste the edge of the turns with even basting. See 
Illustration 'No. 72. 

18. Hem the garment down on the patch (beginning to 

hem in the centre of one side). 

110 



Home and School Sewing. 

19. Take out all basting stitches. 

20. Press the patch carefully on the wrong side. 

Another Way of Patching. 

1. Cut out all worn material around the hole. 

2. Make a diagonal cut at each corner one-fourth of an 
inch. 

3. Turn the edges down as far as the diagonal cut at 
each corner will permit. 




111. 72.— Patch Basted Ready for Second Hemming. 
Ill 



Home and School Sewing. 




III. 73.— Calico Patch Properly Matched. 

4. Turn down the patch as before. 

5. Baste the right side of the patch to the wrong side of 
the garment (centre to centre). 

6. Hem it first on the right side (that is, hem the gar- 
ment to the patch). 

7. Turn and hem it on the wrong side (that is, hem the 
patch to the garment last). See Illustration Ko. 73. 

Note. — This method is preferred by many persons, especially in match- 
ing figured or striped materials. 

112 



Home and School Sewing. 



Mistakes Likely to Occur in Patching. 

1. Size of patch, either too small or too large. 

2. Warp of patch and garment not running parallel 
with each other. 

3. Patch held upside down while hemming. 

4. Corners not true and drawn in sewing. 




>**t//'»'-m*l>i)jrj. •*•»«» |M/\"» ,,, *I 





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Mf%fiv r ~'%^ 



111. 74.— Catch-Stitched Patch, Eight Side. 
(8) 113 




Home and School Sewing. 

Catch-Stitched Patch. 

This method is used in patching garments made of flan- 
nel or cloth. The fact that, owing to the thickness of the 
materials, the edges need not be turned, makes this in 
many respects the easiest of all patches. 

The catch-stitch should be taken through the patch and 
material together on one side only, because, for the sake of 
protection, the stitch is carried over the raw edges, and the 




III. 



Catch-Stitched Patch, Wrong Side. 
114 



Home and School Sewing. 




III. 76.— The Wrong Side of an Overseamed Patch with the Edges Overcast, 

second side of the stitch is taken merely through the single 
flannel of the garment. 

Materials. — The materials required are : Cloth or flan- 
nel representing a garment ; a patch to match four inches 
square ; "between" needles ; silk or cotton, according to 
material ; scissors ; ruler or tape measure. 

1. Cut out all worn material around the hole. 

2. The piece intended for the patch must be three- 
fourths of an inch larger than the hole when thus prepared. 

115 



Home and School Sewing. 

3. Tack the patch to the wrong side of the garment, 
with nap of the two pieces running the same way. 

4. See that they agree with regard to warp and woof. 

5. Turn the material over with the right side up and 
catch-stitch the garment to the patch. See Illustration 
No. 74. 

6. Catch-stitch the patch to the garment on the wrong 
side. See Illustration No. 75. 

Note.— A patch may be either oversearaed or backstitched into a garment. 
When made in this way, the edges should be opened and pressed on the wrong 
side. The edges may be finished by overcasting or buttonholing. See Illustra- 
tion No. 76. 

116 



XXI. TUCKING. 

A tuck is a plait in a fabric or garment, held in place 
by stitches ; it is frequently one of a series laid parallel. 

Xothing more completely spoils the appearance of a 
garment than crooked tucks ; therefore in elementary work 
a paper measure is advisable in order to make the tucks 
exact in width and space. This measure is sometimes 
called a gauge. 

Tucks are used either by way of decoration, or in order 
to dispose of extra material in a garment, with the expecta- 
tion of letting it out as the wearer grows or the fabric 
shrinks. 

The size varies very much, according to taste, as well as 
to the special needs of the garment. 

In cutting out garments, keep in mind the fact that 
each tuck requires twice its depth with once that amount to 
rest on. 

The space between the tucks depends largely on the 
thickness of the fabric. For ordinary muslin, the space is 
frequently made one-half the width of the tuck. 

Make an odd rather than an even number of tucks ; for 
instance, make three, five, or seven ; not two, four, or six. 

When used in groups with space, use an uneven number 
of tucks and make the space correspond to the width of the 
group. 

117 



Home and School Sewing. 



Tucks are sometimes made lengthwise and sometimes 
across the cloth, and always on the right side of the 
garment. 

Materials. — The materials required are: A practice 
piece of bleached muslin seven inches wide and eighteen 
inches long, tucks to be made directly above 
the hem; needles, "sharps" ; cotton; scissors; 
ruler or tape measure; a piece of stiff paper 
or cardboard. 

1. Make a measure or gauge by folding a 
piece of paper (so that it will have a stiff 
edge) three-fourths of an inch wide and five 
inches long. 

2. Prom, the end of the paper, mark with 
a dot the width of the tuck. 

3. Make a second clot the width of the tuck 
plus the space below the first dot. 

4. Make at each dot a straight cut, and 
from that cut an oblique one. See Illustra- 
tion ISTo. 77. 

5. Hold the right side of the material 
towards you. 

6. Place the second straight cut of the 
measure to the sewing of the hem. 

7. Crease by the top of the measure. 

8. After creasing all the way across, bring the measure 
back to the right-hand edge and test the correctness of the 
turn, and at the same time baste under the first straight 
cut. 

9. Baste with uneven basting. 

118 



III. 77.-Gauge 
or Measure 
Used in Mark- 
ing Tucks. 



See Illustration No. 78. 



Home and School Sewing. 

10. Sew, below the basting, with running stitches. 

11. Take out the basting stitches. 

12. In making a second tuck, place the second straight- 
cut to the sewing of the first tuck and proceed as before. 

13. If an occasional backstitch is used, the tuck should 
be basted and sewed on the upper side. 

Mistakes Likely to Occur in Tucking. 

1. Space between tucks uneven. 

2. Tucks run on upper side. 

3. Width of tuck not suitable for the garment. 

4. Tucks overlapped. 




III. 78.— Position of the Measure while the Tucks are Basted. 
119 



XXII. FASTENINGS. 

Buttonholes. 

A buttonhole is a slit or hole made to receive a button. 
It is always made on double material, and frequently a 
third ply is put in to give it additional strength. 

The size of the buttonhole is determined by the diameter 
of the button. 

A buttonhole should always be worked on the right side 
of the garment ; and on the right-hand side of women's gar- 
ments, and on the left-hand side of men's. 

Buttonholes are usually cut in a horizontal position, but 
on shirt bosoms and shirt waists they are frequently cut 
vertically. 

They are generally cut one-fourth of an inch from the 
edge of the garment. 

The spacing between the buttonholes is controlled by 
fashion, by the size of the buttons, and by the looseness or 
tightness of the garment. 

On woolen materials, work the buttonhole with button- 
hole twist. Be careful to have the twist one shade darker 
than the goods, as it always works lighter. 

On muslin and similar materials, buttonholes are gen- 
erally worked with round ends. 

The outer edge of the buttonhole stitch is called "the 

120 



Home and School Sewing. 

purl edge." Tailor-finished buttonholes are made with a 
bar across the end farthest from the edge of the garment. 

Materials. — The materials required are: A strip of 
muslin, which, when folded, is two and a half inches w T ide 
and eighteen inches long; red cotton; fine white cotton; 
"between" needles; buttonhole scissors; tape measure. 

(It is advisable to learn the stitch before trying to make 
a buttonhole.) 

The Buttonhole Stitch. 

1. Hold the folded edge of the buttonhole strip along 
the first finger of the left hand. 




III. 79.— Needle and Thread in Position for the Buttonhole Stitch. 



2. Take two small running stitches on the wrong side 
of the strip, pointing the needle towards you. 

3. Bring the needle up from underneath close to the 

121 



Home and School Sewing. 

folded edge of the cloth, thus bringing the thread into 
position for the stitch. 

4. Work from you (that is, from right to left). 

5. Again, put the needle in the same distance from the 
edge and directly in front of its first position. 

6. With the needle halfway through the cloth, and point- 
ing towards you, take the double thread at the eye of the 
needle and bring it around and under the point of the 
needle from right to left. See Illustration Xo. 79. 

7. Pull the needle out, draw the thread so that it will 
form a horizontal line ; in this way the purl edge is brought 
to the folded edge of the cloth. Make the stitches very 
close to each other, as the closer the stitches the more 
durable the buttonhole. 




III. 80.— -Buttonhole Scissors. 
122 



Home and School Sewing. 



8. Be careful to keep the depth and the spacing of the 
stitch uniform throughout. 

9. It is a good plan to practice the buttonhole stitch on 
the folded edge of the strip of cloth. 

Mending the Thread. 

1. Draw the thread out of the needle; but if the thread 
breaks short, open up two or three stitches. 

2. Begin the new thread by taking two or three stitches 
on the wrong side and bringing the needle up through the 
purl edge of the last stitch. 

3. Make three buttonhole stitches over the two threads. 

Cutting the Buttonhole. 

1. Cut from the notched part of the blade to the point 
of the scissors. See Illustration JsTo. 80. 

2. Cut with the thread of the muslin, one-fourth of an 
inch from the folded edge. 

3. Cut and work one buttonhole at a time. 

4. The diameter of the button gives 
the size of the buttonhole. 

5. Be careful to keep all the button- 
holes the same size. 

It is well to practice cutting button- 
holes on a strip of paper or muslin be- 
fore cutting cloth in which buttonholes 
are to be worked. 

Overcasting. 

1. Hold the buttonhole along the first 
finger of the left hand, with the folded ^^UB 



edge of the muslin towards the wrist. 

123 



on the Back of 
Waist. 



Home and School Sewing, 




III. 82.— Buttonhole Strip in Position. 



2. Begin at 1 and overcast to 2. (Begin without a knot, 
taking two running stitches on the wrong side.) 

3. Take the needle underneath and bring it up at 3, then 
overcast to 4. See Illustration No. 83. 

4. Do not make the overcasting stitches more than three 
o-r four threads deep, and in the proportion of five over- 
castings on each side of a three-f ourths-of-an-inch button- 
hole. 

5. Overcast a buttonhole immediately after it is cut. 

124 



Home and School Sewing. 



Barring. 

1. Slip the needle underneath from 4 to 1 ? then make 
a bar along the side of the buttonhole by taking the needle 
under at 2 and bringing it up at 3 and back to 4 and then 
to 1. See Illustration No. 83. 

2. Repeat this so that you have two bars at each side 
and two at each end. (The bars at the end should show 
only on the wrong side.) Be careful not to draw the 

material. 

Working the Buttonhole. 

1. Bring the needle halfway through at 1 w T ith the 

needle pointing towards you; take the double thread at 

Iff 



w *wnr©¥*»»'»^."> 1 **\ 




III. 83.— Overcasting and Barring the Buttonhole. 
125 



Home and School Sewing. 

the eye of the needle and throw it under the point of the 
needle from right to left. 

2. Draw the thread out straight. 

3. Continue working the buttonhole in this manner un- 
til you reach the end which is generally rounded nearest 
the folded edge ; the stitches here should present the ap- 
pearance of the spokes in a wheel or an eyelet hole. 

4. After rounding this end, work along the opposite 
side until you are directly opposite the first stitch. 

5. Finish the last end in a similar manner to the first, 
taking the needle down through the purl edge of the first 
stitch and making two or three stitches on the wrong side. 

6. If a tailor finish is desired, w r ork along the side from 
3 to 4 until you are directly opposite the first stitch. 

7. Take the needle down through the purl edge of the 
first stitch ; draw the thread tightly until the sides are 
brought close together. 

8. Make three bars across this end of the buttonhole. 
(These bars must be on the right side, and should extend 
the full width of the buttonhole stitches.) 

9. Work over the three bars with buttonhole stitches, 
keeping the purl edge towards the buttonhole. 

10. Take the needle down close to the last stitch and 
fasten the stitch on the wrong side. See Illustration 
Ho. 84. 

11. In mending the thread, follow the method in the 
buttonhole stitch. 

12. The buttonhole should be worked with one thread; 
if it is very large, it may be overcast and barred first and a 
new thread taken when beginning the buttonhole stitch. 

126 



Home and School Sewing. 




III. 84.— Buttonhole Completed. 



Common Mistakes in Making Buttonholes. 

1. Badly cut hole; out of proportion to size of button. 
Not cut with the thread of the material. 

2. Buttonhole commenced at wrong end. 

3. Cotton not drawn tight. 

4. Stitch not uniform in depth. 

5. Ends finished badly. 



Buttons. 
A button is a knob or disk of bone, metal, or wood, often 
covered, having a shank, perforation, or other means by 
which it may be sewed to one part of a garment, which it 
joins to another part by passing through a buttonhole. 

127 



Home and School Sewing. 

Buttons are sometimes sewed to garments for ornament, 
and are frequently made of very rich materials. A button 
of gold, crystal, coral, ruby, or other precious stone is 
worn by Chinese officials, both civil and military, on the 
top of their hats as a badge of rank. 

Buttons are sewed on the right side to a fold of the mate- 
rial; it is often advisable to have an extra fold of the 
material used as an interlining so as to prevent the button 
pulling away from the garment. 

Buttons without shanks require to be stemmed. This 
is done by leaving the thread a little loose while sewing 
on the buttons, and then twisting it around the sewing 




Various Methods of Sewing on Buttons. 



several times, between the button and the material, before 
fastening the thread. 

A tailor puts his stitches through the upper goods and 
interlining only, pointing his needle back and forth, not 
up and down. 

Materials. — The materials required in this lesson are : 
A strip of muslin, which, when folded, is two and a half 
inches wide and eighteen inches long; buttons of various 

128 



Home and School Sewing. 



kinds to illustrate the lesson ; needles, "sharps" ; c<5arse 
silk or cotton ; tape measure. 

Marking the Place for the Buttons. 

1. The buttonholes are necessarily made first. 

2. To mark the place for the buttons, lay the right sides 
of the garment together, and stick pins through the outer 
ends of the buttonholes. 

3. These pins may be taken out and the spot marked 
either with a basting stitch or French chalk. 

4. In sewing a four-holed button, use as fine a needle as 
possible. (A fine needle prevents making unnecessary 
holes in the goods.) 

5. Double the thread. 

6. Avoid making a knot, as the point of the needle is 
apt to strike against it and break. 

7. Begin with two small backstitches directly on top of 
the spot marked for the button. 

8. Put the needle 
through hole No. 1 of the 
button. 

9. Place a pin or coarse 
needle on top of the button 
and keep it there until the 
four holes of the button 
have been filled up. See 
Illustration No. 86. 

10. Draw the needle 
through and take it down 
hole No. 2. 

11. Continue sewing until holes No. 1 and 2 are filled. 
(9) 129 




III. 86.— Sewing on the Button 
(Position of the Pin). 



Home and School Sewing. 

12. Sew in like manner through holes No. 3 and 4. 
See Illustration No. 86. 

13. Take out the needle or pin, and draw the button up 
from the garment ; in this way loosening the stitches un- 
der the button. 

14. Bring the needle up between the button and the 
cloth very close to the stitches. 

15. Wind the thread around these stitches; in this way 
forming a stem or shank. 

16. Take the thread through to the wrong side and 
fasten it securely. 

17. Watch the stitches on the wrong as well as on the 
right side, in order to keep them neat. 

18. The thread is sometimes fastened by taking the 
needle two or three times through the wrapping between 
the button and material. 

Note. — Instead of placing a pin on the top of the button, it is some- 
times slipped through the backstitches before the button is put on the 
needle and withdrawn when you are ready to make the stem. 

Sewing on Shoe Buttons. 

1. Use linen thread. 

2. Double it before putting it through the needle; this 
makes four threads for each stitch instead of two. 

3. Make a knot on the end of the thread. 

4. If the thread is waxed before sewing, it will prevent 
its twisting and snarling. 

5. Do not finish the thread off at each button, but carry 
it from one button to the next on the wrong side of the 
shoe. 

. 6. Fasten securely on the wrong side with a backstitch. 

130 



Home and School Sewing. 



Loops. 

Loops are frequently used instead of eyes in connection 
with hooks, as on chokers of dresses, etc. They are also 
used instead of buttonholes in 
extremely thin or thick places, 
where it is impossible to make 
a buttonhole. 

Loops used in place of eyes 
should be made to lie very flat 
on the material. Those intend- 
ed to take the place of a button- 
hole are usually placed at the 
edge of the material and are 
made large enough for the but- 
ton to pass through. Use thread 
a little coarser than that re- 
quired for sewing the garment. 

Materials. — The materials 
required in making a loop are: 
A practice piece or a garment; 
needles, "betw T eens" or "ground downs" ; cotton or silk as 
- required ; scissors. 

1 . To make the bar, bring the needle up from the wrong 
side. 

2. Make a small knot on the end of the thread. 

3. Work from left to right. 

L Make four stitches one-fourth of an inch long direct- 
ly on top of each other. These form the bar. 

5. Begin buttonholing the bar by holding the thread 

down with the left thumb, and taking the needle under the 

131 




III. 87. — Loops. Showing the 
Needle in Position. 



Home and School Sewing. 

bar just made, and over the thread. See Illustration 
No. 87. 

6. Be careful not to catch the cloth in with these 
stitches. 

7. Draw the thread towards you so that the purl edge of 
the buttonholing will come on the outside of the loop. 

8. Fasten the thread securely on the wrong side with a 
small backstitch. 

A Loop in Place of a Buttonhole. 

1. When the loop is to take the place of a buttonhole, 
the foundation stitches must be taken loosely enough to 
cover the button, and the buttonhole stitch worked very 
closely over these strands. 

2. Push the stitches closely together as each one is made. 

Loops of Tape. 

Loops for hanging up a garment are frequently made of 
tape. 

Loops for hanging up dresses are usually sewed flat and 
are placed in the armholes or collars of dresses and on the 
belts of skirts. Loops are sometimes sewed on towels in a 
similar way. Two loops are better than one for most 
garments, as the weight of the garment when hung up is 
then more evenly distributed. 

Tapes to tie various parts of the garment together may 
be sewed on in a similar way. 

Materials. — The materials required in this lesson are : 

A towel or any garment requiring a loop ; tape or binding; 

132 



Home and School Sewing. 




|lliuil'(\ 

III. 88.— Showing the Method ot Sewing a Loop on a Towel. 



needles, "ground downs" or "betweens" ; scissors ; cotton ; 
a loop on a towel ; tape measure. 

1. Cut off a piece of tape the desired length. 

2. Fold it in the middle; overseam it down one inch; 
flatten out the overseam and turn it so that it will form a 
point at the top. 

3. Turn the ends down one-fourth of an inch on the 
right side, and place them on the wrong side of the towel. 

4. Hem the loop on the three outside edges. 

5. Turn the towel over on the right side and backstitch 
it down to the tape. See Illustration No. 88. Oi% simply 

133 



Home and School Sewin 



g- 



double the piece of tape and first backstitch it on the wrong 
side, and then turn the loop and hem it to the towel. 

Hooks and Eyes. 

Hooks and eyes are used instead of buttons and button- 
holes where invisible fastenings are desired. 

If the eye is liable to show on a garment, the loop of it 
should be covered with a buttonhole stitch. 

In dress waists, the hooks and eyes are frequently sewed 
alternately instead of putting all the hooks on one side 
and all the eyes on the other. This prevents the dress 
from becoming unfastened. 

Materials. — The materials required are : Two strips of 
material folded similarly to that used for buttonholes; 
needles, "betweens" or "ground downs'' ; coarse cotton or 
silk, as materials require; scissors; a card of hooks and 
eyes; tape measure. 




•*&waitoUG7xt$4w,t 




III. 89.— Sewing on Hooks and Eyes. 
134 



Home and School Sewing. 

1. Mark, with a stitch, the places for the eyes on the 
folded edge of the strip of muslin. 

2. Make a small knot, 

3. Place the eye on the wrong side of the material, with 
the loop extending a little beyond the edge. 

4. Hold the eye firmly in place with the thumb and first 
finger of the left hand. 

5. Over seam closely around the rings of the eye, being 
careful not to let the stitches show through on the right 
side. 

6. Take two or three stitches over the loop of the eye 
above the ring. Do not break the thread, but carry it from 
one eye to the next. 

7. Mark the place for the hooks, by placing the wrong 
side of the eyes to the strip on which the hooks are to be 
sewed and marking it with a stitch. 

8. Place the hook as far inside the edge as the eyes ex- 
tend beyond it ; hold it firmly in place. 

9. Over seam closely around the rings and across the 
back of the hook. See Illustration Ifo. 89. 

10. Carry the thread as in sewing on the eyes. 

Eyelet Holes. 

An eyelet is a pierced hole, worked with an embroidery 
or buttonhole stitch, to prevent it from fraying. Eyelet 
holes are frequently used when it is desirable to lace in- 
stead of fasten a dress in another way. They are also 
used on shirt fronts for studs. 

Materials. — The materials required : The hem of the 

practice piece may be used ; "betweens" or "ground down" 

135 



Home and School Sewing. 

needles; cotton; a piercer (sometimes called a stiletto); 
scissors ; tape measure. 

1. Push the piercer carefully through the muslin until 
the hole is made the desired size. 

2. Bring the thread up from the wrong side and work 
the edge of the hole over and over with very close, even 
stitches. 

3. If the buttonhole stitch is used, the purl edge should 
form a ring on the surrounding material and not fall on 
the edge of the hole as in a buttonhole. 

4. After it is worked, again push the piercer through 

the eyelet to perfect the shape. 

136 



XXIII. DECORATIVE STITCHES. 

Feather or Brier Stitch. 

This stitch is used as a pretty finish in all kinds of sew- 
ing, and is frequently used to take the place of backstitch- 
ing, as it is so much less of a strain on the eye. 



//• >\ IV «».»////• 




III. 90.— Single and Double Brier Stitch. 

The pattern may be varied by taking a slanting instead 
of a straight stitch ; and also by making two, three, or 
even four stitches on each side. See Illustration ]STo. 90. 

Materials. — The materials required in learning the 
feather stitch are : A quarter of a yard of flannel ; embroid- 

137 



Home and School Sewing. 

ery silk ; needles, either a zephyr needle or "sharps" ; scis- 
sors ; the stitch is usually worked in crochet or embroidery 
cotton, on cotton goods ; in silk or woolen thread, on woolen 
goods; and in silk, linen floss, or flourishing thread, on 
linen. 

1. Use a small knot. 

2. Bring the needle up from underneath. 

3. Work on the right side of the material. 

4. Hold the thread down with the thumb of the left 
hand. 

5. Take a stitch, pointing the needle towards you. 

6. Carry the thread under the needle so as to form a 
loop-stitch. 

7. Always draw out the thread towards you. 

8. Take a stitch alternately on the right and left of the 
thread held down. See Illustration No. 90. 

9. In mending the thread, take the needle down close 
to the last stitch and fasten it securely on the wrong side. 

10. Bring the new thread up from underneath inside 
of the notch formed by the last stitch, so that no break 
may appear in the work. 

Catch-Stitch. 

The catch-stitch is principally used on flannel or woolen 
material to keep the seam flat after it has been sewed and 
pressed. 

It is sometimes used in patching (see page 114) ; in 
fastening whalebones to the seam of a dress; in tacking 
interlining together ; and is frequently associated with out- 
line stitch in fancy work. 

138 



Home and School Sewing. 

Materials. — The same materials are required as in 
making the brier stitch. 

1. Use a small knot if it can be hidden ; if it cannot be 
hidden, begin with a backstitch. 

2. Begin at the left-hand side and sew towards the right, 
always pointing the needle from you (that is, begin at 1, 
take the needle through from 2 to 3, then from 4 to 5, etc.). 
See Illustration No. 91. 




III. 91.— Catch or Herringbone Stitch. 

3. See that the needle, when in position, forms a hori- 
zontal line. 

4. Fasten the thread on the wrong side by a small back- 
stitch. 

5. In mending the thread, guard against any unneces- 
sary break in the stitch. 

6. Flannel seams are catch-stitched in three ways. 



Ways of Arranging Seam for Catch-Stitching. 

7, By opening the seam and catch-stitching the raw 

edges on each side to the garment. See Illustration No. 92. 

139 



Home and School Sewing. 

--IPtff''""" "~H 




III. 92. -Seam Pressed Open and the Raw Edges Catch-Stitched on Each 
Side to the Flannel. 

8. By pressing both edges of the seam down together 
on the garment and securing them with one row of catch- 
stitching. See Illustration No. 93. 



mF~n 




III. 93.— Both Edges of the Seam Pressed to One Side and Catch-Stitched. 

140 



Home and School Sewing. 




III. 94.— Seam Pressed Open and Catch-Stitched down the Centre. 

9. By opening and pressing the seam quite flat and 
catch-stitching it down the centre. See Illustration No. 94. 

Blanket Stitch. 

The blanket stitch is used to secure and ornament the 
edges of woolen materials, especially blankets. It closely 
resembles a buttonhole stitch, the single purled edge being 
the only difference. If made without any intervening 
space, it is used in embroidering scallops and sometimes 
takes the place of overcasting. 

Materials. — The materials required are the same as 
for the brier stitch. 

1. Begin at the left-hand side and work towards the 
right. 

2. On the wrong side of the material, take two running- 
stitches, pointing the needle to the left; these should be 

taken one-eighth of an inch above the edge of the material. 

141 



Home and School Sewing. 




111. 95.— Buttonhole or Blanket Stitch, with the Needle in Position. 

3. Bring the needle through to the right side, pointing 
the needle towards you. 

4. Hold the thread down with the left thumb ; insert 
the needle one-eighth of an inch to the right and parallel 
with the first stitch. 

5. Do not draw the thread tightly. See Illustration 
No. 95. 

6. Fasten the thread by taking the needle through to 
the wrong side and making a few running stitches to the 
left. These should not show through on the right side. 

7. Care should be taken, in fastening and beginning 
new threads, to preserve the regularity of the stitch. 

8. The stitch may be varied by following the sugges- 
tions found in the illustrations numbered 96, 97, and 98. 

Chain-Stitch. 

The chain-stitch is an ornamental stitch, resembling the 

links in a chain. The chain-stitch should be made loosely. 

142 



Home and School Sewing. 




III. 96.— Buttonhole Stitch unevenly Spaced. 

Materials. — The materials required are the same as 
for the brier stitch. 

1. Work towards you, holding the material over the first 
finger of the left hand. 

2. Make a very small knot. 

3. Bring the needle up from underneath. 




III. 97. -Shewing How the Buttonhole Stitch may be Varied. 
143 



Home and School Sewing. 

4. Hold the thread to the left with the thumb ; put the 
needle back into exactly the same place where the thread 
comes out, and take a stitch through and over the thread. 
A loop stitch will be the result. 

5. In making each new stitch, the needle must be put 
inside the loop into exactly the same hole from which the 
thread comes out, taking the same amount of material on 
the needle for each stitch. See Illustration INTo. 99. 

6. Fasten on the wrong side with a backstitch. 

Cable-Chain Stitch. 

This is a slight variation of the ordinary chain-stitch. 
Instead of putting the needle through the last stitch made, 
it is put in just outside of the loop; this gives a much 
richer effect. 




III. 98.— Buttonhole Stitch Used in Fancy Work. 
144 



Home and School Sewing. 




III. 99.— The Chain-Stitch. 




III. 100.— Outline or Stem-Stitch. 



Outline or Stem-Stitch. 

This stitch is frequently used in embroidery for defining 
delicate lines and emphasizing the edges of designs. 

In outlining a circle, always work it so that the silk, 
w T hen drawn through, lies toward the inside of the curve, 
when you are about to take the next stitch. 

To avoid puckering, be careful that the material held 
over the first finger of the left hand is perfectly smooth 
and straight. Never hold the material on the bias, no 
matter what the direction of the line that is being followed. 

Materials. — The materials required are: A piece of 
"art linen" ; embroidery or sharp needles ;' linen floss or 
filoselle. 

1. Work from you ; hold the material over the first finger 
of the left hand. 

2. Make a small backstitch on the wrong side. 
(10) 145 



Home and School Sewing. 

3. Bring the needle up from underneath and make a 
slanting stitch, pointing the needle towards you. See Illus- 
tration No. 100. 

4. Take a long stitch forward on the upper side and a 
short stitch backward on the under side. 

5. Keep the thread to the right of the needle. 

6. Study sample for size of stitch. 

7. Do not draw the stitches tightly. 

8. Fasten on the wrong side with a backstitch. 

Cross-Stitch. 

This stitch is used for marking undergarments and 
household linen, and in dressmaking as an ornamental 
method of sewing in w T aist bands. 

Materials. — The materials required are: Coarse can- 
vas ; zephyr and zephyr needles ; scissors. 

1. Do not use knots. 

2. Leave an end of thread on the wrong side to be held 
in place by the first stitches made. 




III. 101.— Cross-Sti tch Used in Marking. 
146 



Home and School Sewing. 




III. 102.— Letters for Marking. 
147 



Home and School Sewing. 

3. All stitches must cross in the same direction. 

4. Bring the needle up from underneath at the lower 
left-hand corner of the square of canvas intended for the 
stitch. 

5. Take the needle down at the upper right-hand cor- 
ner, and bring it out at the upper left-hand corner. 

6. Take the needle down at the lower right-hand corner, 
and bring it out at the lower left-hand corner of the next 
stitch. See Illustration No. 101. Or, 

7. Bring the needle up from underneath at 1, taking 
it down at 2 and bringing it out at 3. Cross over to 4, and 
bring it again out at 3, thus completing one stitch. 

8. Be careful to have the back of the work look neat. 

9. In patterns and marking where upright rows of 
stitches occur, it saves time to work the entire number to 
the top with half stitches and then come back over each 
one to the bottom. 

Hemstitching. 

Hemstitching is a fancy method of stitching hems in 
which threads of the material are drawn and separated. 

The number of threads drawn will depend largely upon 
the coarseness or fineness of the material. 

If the fabric is much stiffened, rubbing it between the 
hands will take out the stiffening and make the threads 
easier to draw. 

Materials. — The materials required are: Linen crash 
or canvas ; "between" needles ; cotton suitable to material. 

1. Draw one thread at a time, and draw it the entire 



length of the cloth. 



148 



Home and School Sewing. 

2. After the proper number of threads have been drawn, 
turn and baste the hem close to the line thus made. 

3. Baste with even basting. 

4. Sew on the wrong side. 

5. Hold it along the first finger of the left hand with 
the hem towards you. 

6. Begin at the right-hand side and secure the ends of 
the thread as in ordinary hemming. 

7. Point the needle towards you and take up three 
threads and draw it through. Hold the thread firmly with 
the left thumb. See Illustration No. 103. 



f lit 



"^ITWWHwirytinni'tftl " 1 - ^ 




III. 103.— Hemstitching (the Needle in Position). 



8. Draw the cotton tightly and take an ordinary hem- 
ming stitch to the left, close to the threads just drawn 
together. 

9. Proceed in like manner the entire length of the hem. 

149 



Home and School Sewing. 

French Knot or Seeding. 

This stitch is used in embroidery to represent the seeds 
in flowers, and is frequently combined with other decora- 
tive stitches in geometric or other conventional designs. 

If the material is heavy, carry the thread from knot to 
knot without breaking it. If the knot is made on sheer 
material, where the thread would show through, the thread 
must be fastened at each knot. 

Materials. — The materials required are: A piece of 
flannel or "art linen" ; linen floss or embroidery silk ; 
"sharps" or embroidery needles; scissors. 

1. Bring the needle up from the wrong side. 

2. Make a small backstitch. 

3. Hold the silk in the left hand a few inches away 
from the material. 

4. Take the needle in the right hand and twist it around 





III. 104.— French Knots. 



III. 105. -A Fan of Stitches. 



150 



Home and School Sewing. 

this portion of the embroidery silk three or four -times. 
See Illustration No. 104. 

5. With the silk still held firmly in the left hand, carry 
the point of the needle back two or three threads beyond 
where the silk was first brought through. 

6. Hold the knot in place with the left hand and pull 
the underneath silk quite tight, so as to secure the knot 
on the wrong side. 

A Fan of Stitches. 

This stitch is generally used to finish and secure the 
bone casings of a dress waist or corsage. 

Materials. — The materials required are: A piece of 
flannel ; embroidery silk or twist ; "between" needles ; tape 
measure. 

1. Fasten the thread securely on the wrong side with a 
backstitch. 

2. Begin with the centre stitch and make five stitches 
on each side, gradually shortening each one. See Illus- 
tration No. 105. 

3. Make several backstitches on the wrong side to fasten 

the end of the thread. 

151 



XXIV. A LESSON IN ECONOMY. 

Shakespeare makes one of his characters say, "Costly 
thy habit as thy purse can buy/' but much more than mere 
cost must be considered in order to direct our expenses 
wisely in the matter of dress. 

An everyday dress, for example, should be made of cloth 
that will not shrink or roughen if wet, that will not fade 
when exposed to the light, and that has no loose threads in 
the weave to catch and draw. If intended for winter wear, 
it should have warmth without much weight; if for sum- 
mer, it should be cool and thin without being flimsy. Good 
homespun, merino, cashmere, serge, cheviot, and broadcloth 
are standard materials, and far more serviceable than so- 
called novelties for which a high price is charged on ac- 
count of some peculiarity in the weave. In summer goods, 
lawns, percales, linens, ginghams, dimities, grenadines, 
China silk, and taffeta are suited to various uses, and all 
are serviceable and hold their own in the favor of good 
buyers, in spite of the many fancy materials that are 
"made to sell." 

All cheap and pretentious cloths should be avoided. 
They are manufactured to deceive persons who know little 
about the real value of goods. Spend the same amount of 
money for a plain standard material, and the garment will 
be far more satisfactory at the first and will last much 

152 



Home and School Sewing. 

longer. Important as careful mending is, a great deal of 
mending may be saved by buying only substantial goods 
that are even in warp and woof and closely and firmly 
woven. 

Dresses should be appropriate to the occasion. Ele- 
gance of material has no place in a. walking dress, for 
example. 

They should not be overloaded with ornament at any 
time. A good gown well fitted and carefully made from 
simple, appropriate goods is far better than one made 
of inferior material and loaded with trimmings. If lace 
or embroidery is used at all, it should be good of its kind. 
Cheap trimming of any sort cannot be made to appear 
artistic. 

Clothing will look better and wear longer if properly 
cared for. Careful folding, brushing, and cleaning have 
much to do with the appearance of a wardrobe. Garments 
should be hung up with double loops or on curved hoops. 

If a garment is to be remodeled, it should not be worn 
until it is very shabby, but should be carefully ripped 
apart, brushed and shaken in the open air. If the material 
can be turned, remove all stains by stretching it out on 
a clean, smooth board and scrubbing it with a soft brush 
and soap and warm water, rinsing such places by holding 
the material over a bowl and pouring water through it. 
Be careful not to stretch it while doing this. Lay a cloth 
over it and press on the wrong side while it is still damp. 

If the material is very much soiled and worn, soak a 

small quantity of soap bark in warm water overnight ; 

strain through a fine cloth; if any woody particles come 

153 



Home and School Sewing. 

through, strain again. Put this suds into two tubs ; add 
warm water untilit is about 98° Fahrenheit. Place the 
fabric in the first tub, and knead it as you would bread. 
J^ever rub soap on the fabric or use a washboard. Keep 
turning it over and kneading until you have taken out as 
much dirt as possible. Many of the washing machines are 
very good for this purpose. Fold the material carefully 
and put it through a wringer ; repeat this process through 
the second tub. Rinse it in water, which is of the same 
temperature as the first; and make sure that all soap is 
out of the material before finally putting it through the 
wringer. If the wringer creases the cloth, take it out of 
the rinsing water and hang it, by the selvage or straight 
edge, upon the line to drain and dry. When nearly dry, 
iron it with a piece of goods between the material and the 
iron. Care should be taken in ironing not to flatten the 
threads of the fabric. Silks, ribbons (except white), kid 
gloves, etc., can be best cleaned with naphtha, but as this 
is highly explosive, it must be used in the open air, away 
from fire. Delicate fabrics had best be sent to the profes- 
sional cleaner. 

In remaking any material, it is generally advisable to 
combine it with some other fabric. Frequently this may 
be done by making a yoke or vest, cuffs and collars on the 
waist, and introducing a panel or bias fold on the skirt, 
being careful to select materials whose coloring will be low 
in tone and that will not attract attention to any lack of 

freshness in the original goods. 

154 



XXV. COLOR IN FABRICS. 

~No matter how well garments are cut and sewed, how 
perfectly they are fitted, or how costly the material from 
which they are made, the person who does not understand 
the use of colors in their relation to fabrics cannot select 
and make satisfactory clothing. An understanding of 
color is, therefore, very important. 

A rainbow is made up of the colors violet, indigo, blue, 
green, yellow, orange, and red. These colors and all 
others, with their thousands of shades and tints, can be 
made by mixing red, blue, and yellow together in various 
proportions and adding black to darken (that is, to produce 
a shade of the particular color desired), or by adding white 
to lighten it (that is, to produce a tint). Hue is the char- 
acteristic of a color which first appeals to the eye and dis- 
tinguishes it from any other, as red, blue, green. Tone is 
the grade of a color as it passes from light to dark — from 
tint to shade. 

Red, yellow, and blue, combined in the right proportions, 
will make white. It follows, then, that combinations of 
these colors, if properly put together, will also produce 
white. The colors resulting from such combinations con- 
trast harmoniously, and are called complementary colors. 
The complementary colors, besides purple and green, are : 
Carmine and bluish-green, vermilion and turquoise blue, 

155 



Home and School Sewing. 

orange and ultramarine, yellow and bluish-violet, yellowish 
and purple violet. 

Eed and yellow are spoken of as warm colors, and blue 
and violet as cold. Green is neutral and is, therefore, one 
of the most restful colors to the eye. Gray and white, 
which is at the same time no color and a union of all colors, 
are often called neutral. All colors seem brighter on black 
ground and darker on white ground. 

Color is an important element in the design of cloth. 
Whether the pattern be striped, checked, figured, or an in- 
termingled effect, it obtains its outline and detail from the 
method of coloring adopted', and to remove the color would, 
in many cases, erase all design and ornament. The color, 
therefore, often determines whether a certain material 
shall be used or not. 

The material, also, has much to do with the combining 
of colors. For instance, the brilliancy of satin and the 
sheen of silk unsuit them for use with many kinds of 
woolen goods, particularly the rougher sorts, even though 
the colors of the two materials harmonize. On the other 
hand, velvet lends itself to a happy blending of color on 
account of its soft lights and rich shades ; while the full- 
ness, the delicacy, and depth of color in woolen materials 
offer great possibilities in the way of harmonious combi- 
nations. 

Dress is a form of decoration, as well as a means of 

comfort, and the well-dressed person usually selects quiet 

colors, or, if stronger colors are used, they are carefully 

chosen and combined so as to produce a harmonious effect. 

In general, it may be said that combinations are improved 

156 



Home and School Sewing. 

by avoiding the contrast of bright colors. The dull greens 
and blues of Scotch plaids and the soft colors of Oriental 
rugs are examples in point. An India shawl, in which 
the gayest colors are used, is kept low in tone by the black 
outlines, which prevent violent contrasts in bright colors. 
Nature is the best teacher in the use of colors. In the 
plumage of the humming bird, the feather of the peacock, 
the lining of a shell, the carpet of moss and lichen in the 
woods, are found lessons in color harmonies which no 
painter or weaver ever surpassed. 

A particular color in a garment is becoming only if it 
harmonizes with the complexion of the wearer ; but in 
proper material, white is suitable to all ages and complex- 
ions. It is worth while noticing, however, that so-called 
w T hite goods rarely are absolutely white. They have tints, 
and are made more becoming thereby. 

One lesson cannot contain all there is to learn about 
combinations of color. This knowledge must be acquired 
little by little — by looking at color harmonies in nature or 
in manufactured objects which you know are liked by cul- 
tivated persons, and by combining colors for yourself until 
you become familiar with their relations. Until you are 
perfectly sure of your knowledge, bright colors are to be 
avoided either singly or in combinations. 

157 



XXVI. A CHAPTER ON MATERIALS. 

Silk. 

Raw silk is the silk as it is reeled from the cocoons. 

Gloss silk is the loose silk that envelops the cocoons. 

Two or three threads of raw silk, twisted loosely two or 
four times to the inch, is called tram, and is used as shute 
or woof. In weaving, the woof has little or no strain upon 
it, and it fills the warp better by being soft and loose. 

The warp is also called organzine. Silk for this purpose 
is tightly twisted to promote strength and elasticity in the 
fabric ; hence the finer and more regular threads are used 
for this purpose. 

Amongst the animal fibres, the first place must be as- 
signed to silk not only on account of the beauty of the 
fibre- itself, but also because no other textile fabric com- 
bines to such a degree the qualities of warmth, brightness, 
strength, firmness, and durability. 

Tt is the natural production of the silkworm. The eggs 
are hatched in spring, and the worm or caterpillar grows 
rapidly, until when fully grown it is about three inches 
long. It feeds on the leaf of the mulberry tree. 

Like most other caterpillars, the silkworm sheds its 
coat four times, at intervals depending on the quality and 
quantity of the food. When about to spin its cocoon, it 
ceases to eat. The silk is produced from two long glands 

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Home and School Sewing. 

along the sides of the body. From each gland comes a 
slender tube. These tubes unite into one near the mouth. 
In spinning its cocoon, the worm sends out a line of thread 
about four thousand yards in length. In doing this, it 
bends its head and body backward and forward until it 
has entirely surrounded its body with silk, and within this 
it spins a finer and more delicate silk. 

The cocoon is generally completed in about three days, 
and it is about the size of a pigeon's egg. 

When the cocoons are finished by the worms, they are 
placed in vessels heated with hot water or in an oven which 
melts the cementing gum and kills the chrysalis. They 
are then sorted and placed in hot water and stirred until 
the winder is able to catch a number of loosened ends which 
she winds together on reels as one thread. It then goes 
to the spinning frame, where the fibres are twisted into 
the required thickness for weaving. 

The value of silk depends on, first, lustre ; second, 
strength ; third, fineness. Its appearance under the micro- 
scope is an even, round, glasslike fibre ; its strength is said 
to be three times that of linen. Xo other textile fibre can 
be spun to such a degree of fineness combined with elas- 
ticity. 

The silk industry doubtless originated in China, and 
there is exported from that country nearly seven million 
dollars' worth of silk annually. When first known to the 
Romans, silk was so dear that it was sold weight for weight 
with gold. The high-priced silk fabrics have long come 
from Italy and France, and the cheaper ones from the 
United States, India, Persia, and China. The silks of the 

159 



Home and School Sewing. 

United States have greatly improved in quality in recent 
years. 

Silk is said to rank next to wool as a non-conductor of 
heat. 

Varieties of Silk Cloth. 

Most manufactured silk materials are known under one 
of the following names : 

Satin, a silk fabric of a thick, close texture, with a 
glossy face and a dull back; the lustre of the surface is 
produced partly by the quality of the silk and partly by 
a method of weaving that reduces the number of crossings 
of filling and warp. The surface is made still more 
lustrous by being made to pass over very hot rollers in 
finishing. 

Taffeta, a light-weight, smooth-finished silk, capable of 
repelling dust. It is frequently used for linings. It may 
be plain, figured, striped, or plaid. 

Changeable silk, in which the warp and woof are of con- 
trasting colors. 

Surah, a soft twilled silk with a glossy surface usually 
of solid color. 

Gros Grain, a dull-finished silk with a cord running 
across from selvage to selvage. 

Faille Frangaise, a fabric woven in the same manner 
as gros grain, but softer and finished with considerable 
lustre. 

Irish Poplins and Bengalines belong to this family, al- 
though the latter are frequently mixed with either linen 
or wool. 

Ottoman is a very heavy corded silk, used for cloakings. 

160 



Home and School Sewing. 

Damasse (see Damasse in wool), sometimes called bro- 
cades. 

Foulard, a soft twilled silk frequently printed in con- 
trasting colors. 

Moire or watered silk. This effect is produced by sub- 
jecting gros grain silk to various conditions of heat, 
moisture, and pressure. 

China and Japanese silks are frequently spoken of as 
wash silks. These are particularly desirable for summer 
dresses because of the lightness and coolness of the fabric, 
as well as the fact that they may be washed like gingham. 

Crepe. This is a sheer silk fabric, which, by being ex- 
posed to heat and moisture, is given a peculiar crinkled 
effect ; when dyed black, it is used for mourning. 

Armure and Matalasse (see woolen materials). 

Pongee, a soft bleached wash silk made in China, the 
product of a wild silkworm that feeds on the oak leaf. 

Velvet, a silk fabric closely woven and having on one 
side a thick, short, smooth nap or cut pile. Velvets are 
sometimes made of all silk, but frequently have a cotton 
back with silk surface. 

Cotton. 

Among vegetable fibres, the first place must be assigned 
to cotton, because it supplies by far the largest amount of 
material for the clothing of mankind, and can be manu- 
factured into an almost unlimited variety of textures, 
suited for almost every possible purpose, whether for use 
or ornament. 

The cotton fibre holds an unusual place in the order of 
vegetable textile fibres, because it is obtained from the 
(11) 161 



Home and School Sewing. 

plant by the simple process of picking when the boll or 
seed capsule is open and ripe, while most other vegetable 
tissues are procured, not from the fruit or seed, but from 
the stem and branches or leaves of the plant. 

Cotton may be described as a vegetable down or wool 
composed of numberless minute and woolly fibres, which 
envelop the seeds contained in the boll. 

From its great resemblance to sheep's wool, it was called 
by the ancients "the wool of trees." And although it dif- 
fers greatly from the animal fleece, the term is still re- 
tained. The Germans call it tree wool, and the French 
give it a name which answers to the English term cotton 
wool. 

Cotton may be classed as of three kinds : the tree, shrub, 
and herbaceous species. Of these, the most useful is the 
herbaceous species, which is extensively grown in the south- 
ern part of the United States. 

The best variety of the herbaceous species is that known 
as sea island cotton, which is of long staple, its fibre being 
much longer than that of any other kind or sort, and of a 
fine, silky texture. 

It is principally cultivated in the low, sandy islands 
which lie along the coast of Georgia and North and South 
Carolina. 

The herbaceous species of cotton attains a height of 
from eighteen to twenty-four inches. Its leaves are a dark 
green color. The blossom resembles a hollyhock, and is at 
first a pale yellow color ; it then turns white, and eventu- 
ally changes to a pinkish purple, which finally falling off, 
a pointed triangular pod or boll appears. This gradually 

162 



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Home and School Sewing. 

increases to the size of a large filbert, and becomes brown 
as the woolly fruit ripens. 

The expansion of the wool causes the boll to burst, 
when there appears a boll of snowy white or yellowish 
down adhering to the seeds. See Illustration Xo. 106. 




III. 106— Cotton .Ready to be Picked. 

Great care is bestowed in the United States upon the 
cultivation of the cotton plant. The seed is sown by hand 
in March, April, or May, according to the season; it be- 
gins to blossom in June, the bolls commence to mature in 

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Home and School Sewing. 

August and September, and when open they resemble the 
woods in winter after a fall of snow. 

The operation of gathering the cotton requires much 
care. The usual method is to take away the seeds and 
cotton, leaving the empty husk on the bush. The gather- 
ing is always performed in fine weather, after the morning- 
dew has disappeared, as any moisture would make the cot- 
ton mouldy and cause the oil of the seed to spread over 
the wool. 

As the cotton does not all ripen at the same time, 
the pickers have to go over the same plantation many 
times. 

The cotton fibre is not, as it appears to the eye, a solid, 
cylindrical, gossamerlike hair, but when shown under the 
microscope, is a flattened, hollow ribbon, twisted several 
times throughout its length, and with its outer edges in- 
dented. See Illustration No. 107. 




III. 107.— The Cotton Fibre. 

Owing to this natural twist, cotton is easily distinguished 
from every other variety of animal and vegetable fibre, and 
its appearance can be readily detected in any material by 
the use of the microscope. 

After cotton is picked, it is valued according to, first, 

164 



Home and School Sewing. 

length of fibre ; second, smallness or fineness of diameter ; 
third, evenness and smoothness; fourth, elasticity; fifth, 
color ; sixth, strength. 

The native home of cotton is the East, India and Egypt 
being the oldest cotton-producing countries. Cotton is 
now grown in the United States, India, Egypt, and Brazil. 
Of these four countries, the United States produces by far 
the greater part. In fact, it is estimated that three-fifths 
of all the cotton grown in the world is grown in the United 
States. 

Preparing Cottox for the Market. 

After the cotton is picked, it is separated from the seeds 
by being run through the cotton gin ; it is then baled and 
shipped to the manufacturers. 

When the cotton reaches the manufacturers, it passes 
through a number of processes before it is ready for weav- 
ing, the first of which is mixing and opening. 

Xaturally the fibres which compose the different crops, 
of even the same class of cotton, will vary more or less in 
character ; therefore the only method by which perfect 
uniformity can be secured is by mixing the bales together 
and freeing the cotton from as much sand and dirt as pos- 
sible. For this purpose, machines with rapidly revolving 
cylinders are employed, which, coming in contact with 
the cotton, knock it into light flakes, while the impuri- 
ties drop through bars situated under or facing the 
beater; it is then ready for the second process, known 
as scutching. 

This is only another form of opening, the scutcher con- 

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Home and School Sewing. 

verting the loosened cotton into a continuous roll or fleece. 
The next process is carding. 

In carding, all the fibres which are in a bent or crossed 
direction are straightened out and placed parallel with 
each other; they are then called slivers. 

The next process is drawing. By this process the slivers 
are passed to the drawing machine, where all irregularities 
either in weight or thickness are taken out and several 
slivers are united into one. 

The next process is roving. The roving machine reduces 
the sliver in thickness by means of revolving spindles, and 
winds it spirally upon bobbins. 

It is then ready for spinning. Here the cotton is twisted 
sufficiently to stand the strain to which it may be sub- 
jected in manufacturing it into cloth. 

In making thread, the yarn is doubled and twisted more 
than for weaving into cloth, as greater strength is required. 
It is then wound on spools and graded according to the 
thickness. The finer the thread, the higher the number. 
Each spool holds two hundred yards. 



Cotton Goods. 

The principal cotton materials are : 

Gingham, & cotton dress goods woven of plain dyed yarn, 
usually in checks, plaids, or stripes. Varieties of ging- 
ham are Madras and zephyr ginghams. 

Muslin, a cotton cloth suitable for underwear and sheet- 
ing; in some parts of the United States called "cotton 
cloth." It was originally so called from Mosul, a city on 

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Home and School Sewing. 

the banks of the Tigris, which was once the chief centre of 
its manufacture. Varieties of muslin, many of which de- 
rive their names from their place of production, are India 
muslin, Swiss muslin, Madras muslin, book muslin, ordi- 
nary muslin, bleached and unbleached. 

Calico, cotton cloth with a figured design printed on one 
side. The word calico has a queer origin. Many centu- 
ries ago the first monarch of the province of Malabar, in 
Hindustan, gave to one of his chiefs, as a reward for 
services, all the land within the limit of which a cock crow- 
ing could be heard. The town that grew up was called Cal- 
icoda, afterwards Calicut, and from this place the first 
cotton goods were imported. 

Cambric, a fine white linen or cotton fabric, first made 
at Cambria, France. It is frequently printed on one side. 

Batiste, a fine all linen or cotton fabric; the French 
word for lawn. Either printed or white. 

Sateen, sl cotton fabric with a glossy surface somewhat 
resembling satin. It is made in light weight for dresses 
and linings, and in heavier qualities is used for shoe lin- 
ings and corsets. 

Dimity, a sheer, cotton fabric with very fine cords run- 
ning lengthwise. 

Pique, a heavy cotton fabric that has a corded surface 
running either lengthwise or crosswise. 

Mull, a thin, wiry kind of muslin. 

Velveteen, or cotton velvets; a cotton material having 
a loose nap or pile on the surface. 

Corduroy, a cotton material resembling velveteen, but 
woven with a ribbed effect. 

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Home and School Sewing. 



Linen. 

Linen is a fabric manufactured from the fibres of flax. 
The flax plant is a slender annual from two to three feet 
high and has small pointed leaves placed alternately on 
the stem. It bears a pale blue flower. 

Flax is a native of Egypt, and the fact that the mum- 
mies of Egypt were wrapped in linen proves that it is one 
of the oldest cloths woven. 

The flax plant seems to thrive best in a moist climate. 
It is extensively cultivated in the north of Ireland, France, 
and Holland. 

The seed is sown in March, and the plants, when the 
seeds are ripe in autumn, are pulled up by the roots. The 
seeds are used for medicinal purposes, and when pressed, 
yield linseed oil. The stems of the plant are hollow, and 
consist internally of a woody portion called shore or boon, 
and externally, immediately below the bark, of the cellular 
tissue from which the flax is prepared. 

After the plants are pulled, if the object be to use the 
seeds, they are spread out in the sun to dry, and the seed is 
beat out ; this is called rippling. 

But if the fibrous part be the chief object, the plants 
are pulled up before they are fully ripe, and they are then 
tied in bundles and laid to soak in pools or ditches of 
water ; they are then spread on the grass until fermenta- 
tion takes place in the glutinous matter which binds the 
fibres together, thus loosening the fibres and setting them 
free. This process is called retting. 

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Home and School Sewing. 

The next process is called breaking or scutching, which 
consists in beating the stalks with a broad, flat board, in 
this way separating the woody fibre from the flax. 

The flax is now sent to the spinning mill, where it is 
roughly sorted and heckled or combed into two grades ; 
the coarse or tangled fibres are called tow, and the finer 
and longer fibres are called line. 

The line is again sorted into different qualities, and 
then goes through what is called the drawing process. In 
this the flax is formed into a continuous ribbon or sliver ; 
it is then drawn until the fibres are evenly arranged in a 
parallel direction to each other. 

The flax is then spun into yarn by much the same 
process as cotton, the only difference being that it is spun 
while w y et, at a temperature of 120° Fahrenheit. 

The flax is now ready for weaving; after weaving, it is 
carefully bleached. 

Ireland, Belgium, and Germany are the most extensive 
linen manufacturing countries. 

Linen possesses many advantages over cotton. It is 
stronger and more enduring. It is smoother and more 
lustrous. It is cooler and does not absorb and retain 
moisture so readily. Xot having a fuzzy surface, it is 
capable of a higher gloss or finish when laundered. 

LiNE]sr Materials. 
Some of the best-known linen materials are : 
Huckaback, a dicelike pattern very heavy and service- 
able, used for toweling. 

Crash, often spoken of as Russia crash, very satisfac- 

169 



Home and School Sewing. 

tory for roller towels; twilled crash, not as serviceable as 
Russia crash, but cheaper. 

Damask, a peculiar weave in which the figure has a 
satin finish. 

Art linen is one in which the thread is round and hard 
twisted. 

Holland, a heavy unbleached linen used for upholstering 
purposes and occasionally for dresses. 

Then come the various grades of linen from sheeting 
down to fine shirting, and again to linen lawn and grass 
cloth, which is one of the sheerest fabrics woven. 

In giving these names, no attempt has been made to 

touch upon what might be considered novelties, but only 

those that are considered standard materials have been 

mentioned. , xr , 

Wool. 

The term wool is used indefinitely, but is most gen- 
erally applied to the fine hair of the sheep, and is distin- 
guished from hair solely by being curly and serrated, while 
the latter is straight and stiff. 

Animal fibres differ from vegetable fibres in being more 
flexible, strong, and elastic. 

A microscopic examination of wool shows that it is cov- 
ered by scales closely resembling the scales of a fish ; this 




III. 108.- The Wool Fibre. 

peculiarity has much to do with its value as a textile fibre, 

170 



Home and School Sewing. 

as it is this which gives it the matting or felting quality 
so necessary in spinning and weaving. 

The skin of the sheep itself was probably the first cov- 
ering used by man, and, succeeding that, it is most likely 
that a fabric was made by pounding the fleece in' a damp 
and heated condition, thereby producing a species of felt 
or cloth similar, to some extent, to the felts used for hats, 
carpets, and shoes in modern times. Who first discovered 
the woolen thread itself is not known, but it may be taken 
for granted that the readiness with which wool can be made 
into thread would, at an early period, suggest it as a suita- 
ble material for sewing and weaving. In the Middle Ages, 
Flanders was the great headquarters of manufactures in 
wool. At various dates Flemish wool workers settled in 
England and taught the English, as they had also taught 
the French, the art they had carried to great perfection. 

The value of wool depends not only on the fineness, but 
also on the softness, of it. The finest wool is found, as a 
rule, in the region of the shoulders and neck of the sheep. 

The qualities which distinguish high-class wool are: 
1. Weight. 2. Color and Lustre. 3. Length. 4. Fine- 
ness. 5. Elasticity. 6. Softness. 7. Soundness and 
evenness of fibre. 

Sheep are sheared once a year. They should be washed 
before shearing, because of the dust and dirt adhering to 
the yolk or grease in the wool. After shearing, all stained 
or seedy places should be removed, which leaves the fleece 
comparatively free from fault. 

It is next sorted; this process separates it into lots ac- 
cording to fineness and length of fibre. 

171 



Home and School Sewing. 

It is then washed or scoured by being immersed in a 
bath of chemicals, suited to remove the grease and dirt not 
taken out in the first process. 

It is then dried, after which it again goes through a 
process of mixing called blending ; this consists in mixing 
the various qualities of wool, so as to bring about the best 
results in spinning and weaving. 

The several qualities of wool are determined principally 
by the touch. An indication of soundness is uniformity 
of growth in the several filaments of which the staple is 
composed. The larger fibres will, of course, sustain the 
most weight, but the strength of a sample of wool is not 
judged by the thickness of individual hairs, but by the 
strength of the lock. 

The process of spinning is much the same as in cotton, 
but after the fabric is woven it is given a hot, soapy bath 
and subjected to a heavy pressure, which causes the fibre 
to felt together and to shrink in both length and width. 
This shrinkage must be allowed for in the weaving. 

If the wool has not been dyed in either the fleece or the 
yarn, it is now ready for dyeing, after which it is put 
through various finishing touches, which give it the de- 
sired gloss and finish that makes it marketable. 

Varieties of Wool. 
The principal varieties of wool are : 
1, Merino, from the Merino or migrating sheep, origi- 
nally of Spanish origin. It is noted for the weight and 
fineness of the fleece, and is used universally for fine 
woolens. 

172 



Home and School Sewing. 

2. Alpaca, a species of wool taken from native alpacas 
or llamas, found in the high tablelands and mountain 
ranges of the Andes in Chili and Peru. 

3. Mohair. The wool of the Angora goat is long, 
abundant, fine, and silky, covering the whole body of the 
goat. 

4. Cashmere. The most costlv wool in the world is 
found on the Cashmere goat of the Himalayan Mountains 
of Central Asia. In the Cashmere goat it is the under 
coat of wool next to the body that is rich, soft, and silky, 
almost like down. A fleece weighs but half a pound, but 
it is very valuable. 

Supply and demand. — To-day the population of the 
world demands two billion seven hundred million pounds 
of wool per year ; of this quantity, Australia supplies one- 
fourth; Europe, including Russia, one-third; the United 
States, one-eighth; and following in rank come South 
America, India, Central Asia, Turkey, China, Canada, 
and Mexico. 

The fact that wool is more impervious to cold than linen 
or cotton, and that it is a poor conductor of heat, makes it 
an ideal fabric for underclothing. 

The Principal Woolen Cloths. 

The manufactured woolen materials of most importance 
are: 

Armure, a material woven so that it has the appearance 
of small seeds on the thread. 

Barre is a name given to a fabric crossed by bars of a 

contrasting color. 

Bayadere comes from the dancing girls of the East, 

173 



Home and School Sewing. 

whose garments are made from stuffs crossed from selvage 
to selvage with stripes, and when worn these stripes ap- 
pear to run around the body. 

Beige is the name given to a fine, soft material made of 
yarns in the natural color; it is light in weight and may 
be either twilled or plain. 

Boucle, a fabric having a marked curl or loop in the 
yarn, which is thrown to the surface in weaving. Boucle 
is the French for curl. 

Bourette. In this we find a lump instead of a curl on 
the surface. The name comes from Bourrer — to stuff. 

Broadcloth is a closely woven fabric, finished with a 
soft and glossy nap. 

Carrean, the same as checks; carrean meaning squares. 

Chene, a mottled printed effect. 

Checks, patterns which are usually formed by colored 
threads crossing each other at right angles. 

Cheviot, a kind of serge having a coarse twill frequent- 
ly made of worsted and extremely serviceable. 

Challis, a light wool fabric, without twill, resembling 
mousseline-de-lanie. 

Cords, cloths with ribs which run lengthwise of the 
goods. There are several varieties, such as whipcords, 
Bedford cords, etc. 

Covert Cloths. These are light-weight summer cloths, 
originally made of natural or unclyed wool, resulting in 
gray, drab, or fawn colors. 

Cre'pon, sl crepe or crinkled effect. 

Cashmere, a soft, irregular, twilled material, with the 

twill only on the right side. 

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Home and School Sewing. 

Damasse, a figured fabric showing a contrast in lustre 
between the groundwork and the figure. The same idea is 
carried out in linen damask. 

Diagonals are loosely woven fabrics with a broad twill 
running diagonally. 

Drap d'ete, an all-wool fabric with a twilled surface and 
a broadcloth back ; woven as a twill and finished as a broad- 
cloth. 

Double Cloths, two separate fabrics woven and fastened 
together in the process of weaving. 

Etamine, an open-work effect resembling a wool grena- 
dine. 

Flannels. This name is given to a loosely woven fabric 
manufactured in much the same way as cloth. Several 
varieties of flannel are : French, Saxony, Shaker, and san- 
itary flannel ; the latter is made healthier by retaining the 
natural qualities of the wool. 

Friese, a fabric in which the pile stands up from the sur- 
face in uncut loops. Friser is to curl, or, as we say, to 
friz. 

Foule, a fine, soft serge that has been fulled or milled 
in the finishing. 

Gloria is a silk and wool material without any twill or 
figure. 

Grenadine is a thin, open material frequently made in 

meshes, checks, or plaids. It is manufactured of silk or 

wool; sometimes of the two combined. In purchasing 

these materials, it is very important to see that the warp 

and woof are even in strength and weight, otherwise they 

are liable to slip and become displaced in wear. 

175 



Home and School Sewing. 

Henrietta, a material with a silk warp and a wool fill- 
ing; woven exactly like a cashmere. 

Homespun, a material with a rough surface originally 
made out of undyed yarn, not easily affected by the 
weather. 

Jacquard, a weave named after the inventor of the 
famous loom; in it every warp thread can be made to 
move independently of any other, intricate figures being 
thus produced. 

Matalasse, a fabric whose surface is broken into rect- 
angular figures and puffed up so as to resemble quilting; 
it is woven in both silk and wool. 

Melange, a fabric produced from yarn that has either 
been printed in the wool or dyed of different colors and 
mixed together before being spun. 

Merino is a soft twilled fabric originally made from 
the wool of the merino sheep ; it is heavier than cashmere 
and twilled on both sides. The number of twills to the 
inch in merino and other standard fabrics is often used to 
indicate their quality. 

Mohair, & wiry material with a high lustre, manufac- 
tured from the hair of various sheep and goats, such as 
angora, alpaca, and llama ; it is a fabric that will not muss 
or crease easily, and is impervious to dust. 

Nuns veiling is a thin, woolen material which is very 
hard twisted in the thread, consequently very strong and 
capable of resisting wear. 

Poplin, a wool or silk material, or the two combined, in 
which the cord runs crosswise. 

Sateen, a satin-faced wool fabric, the appearance of 

176 



Home and School Sewing. 

which depends on quality of wool and finish rather than 
weave. 

Serge is a compact, closely woven twilled material. It- 
is one of the most serviceable of all woolen goods, princi- 
pally because it cannot be easily affected by either damp- 
ness or dust. 

Twill, a more or less raised cord running in a diagonal 
direction from left to right. Any fabric with this weave 
may be Called a twill. 

Plaids, These fabrics derived their name originally 
from the tartans worn by the Scotch Highlanders; the 
different clans having each its peculiar tartan or plaid. 

Shepherd's plaids, always black and white. 

Other Materials Used in Clothing. 

While silk, wool, cotton, and linen are the principal 
textiles used in manufacturing material for clothing, there 
are a number of other fibres which may either be woven 
separately or combined with one of the above; among 
which are jute and hemp. These plants are only used in 
manufacturing very rough textiles. 

Out of goat's and camel's hair are manufactured some 
of the finest and softest woolen goods. China grass, when 
woven, has much the appearance of silk. 

Horsehair is used in making haircloth for interlinings 
and upholstering purposes. Whalebone is employed for 
stiffening the seams of dresses. 

Paper is used extensively in Japan. Asbestos is used 
where a fireproof article is needed. Gold, silver, and cop- 
per are sometimes combined with other fibres to increase 
(12) 177 



Home and School Sewing. 

their value, and occasionally are woven independently as 

in Cloth of Gold. Skins supply furs and leather. 

A Venetian manufacturer makes a dress fabric out of 

spun glass, while a peculiar kind of stone found in the 

depths of Siberia is drawn into filaments by a patented 

process and then woven. Both of these new materials are 

said to take the most brilliant and delicate dyes and to 

have a lustre as fine as silk. 

178 



XXVII. TOOLS USED IN SEWING. 

Pins. 

It is most likely that thorns or skewers were originally 
used as fasteners for garments. Following these, different 
appliances were used, such as hooks, buckles, and laces, 
many of which we may suppose were intended for orna- 
ments as well as use. 

The pins that have been found in Egyptian and Scandi- 
navian tombs are made of gold, silver, brass, bronze, and 
iron, many of them twelve inches in length, weighing eight 
or ten ounces, and having artistically cut heads of precious 
stones, metal, ivory, or wood. 

Pins were first manufactured in England, in the six- 
teenth century. Iron w T ire was cut the proper length and 
filed to a point at one end and twisted into a head at 
the other. This was a slow process, four or five hundred 
pins being a good day's work. 

The manufacture of cheap and useful pins was intro- 
duced in England, in the latter part of the sixteenth cen- 
tury, and Birmingham soon became the centre of this in- 
dustry. In the United States, pins were not successfully 
manufactured until after the invention of the Howe ma- 
chine, in 1832. The English pin is still considered the 
best in the market. 

179 



Home and School Sewing. 

The present process consists, first, in pulling and cut- 
ting the wire, which it does at the rate of one hundred and 
forty pin lengths or blanks per minute. The machine then 
seizes each one of the blanks, and a little concave-faced 
hammer hits the head of each one three taps and "upsets" 
it to a head, while it grips it into a countersunk hole be- 
tween its teeth and lays it sideways in a groove; there 
levers and springs point the blanks with great rapidity. 
When finished, they fall into a box that is ready to re- 
ceive them. 

They are then polished and passed through a machine 
which discards all defective ones. After being assorted 
and stuck into a paper which has been prepared for them, 
they are ready for the market. 

It is said that Spanish pin manufacturers were allowed 
to sell them only during the Christmas holidays ; it there- 
fore became the custom for gentlemen to give the ladies of 
the family money with which to buy pins at Ohristmastide. 
From this custom, the term pin money originated. 

Needles. 
Needles are of various sorts and kinds ; namely, the sur- 
geon's needle, the upholsterer's needle, the cook's needle, 
the glover's needle (three-cornered at the point), the sail- 
maker's needle (which has to be pushed through with a 
steel or leather palm), the broommaker's needle, the 
weaver's needle (which has an open eye in the hook for 
picking up broken threads), the milliner's needle, the 
darning needle (a needle with a long eye, to be obtained 

in different sizes), the zephyr needle (which has a long eye 

180 



Home and School Sewing. 

and either sharp or blunt point), the bodkin or tape needle, 
and the ordinary sewing needle, which comes under the 
head of "sharps," "betw T eens," and "ground downs," and 
ranges in size from No. 1, the largest, to No. 12, the 
smallest. 

The common sewing needle is manufactured almost ex- 
clusively in England, and requires cast steel wire of supe- 
rior quality, which must be cut into lengths sufficient to 
make two at a time. 

These pieces are straightened upon an iron table by 
means of an instrument called a rubbing knife. 

The wire is then pointed at each end by automatic ma- 
chinery provided with a fan and shaft to carry away the 
steel and grindstone dust. 

It is next stamped and grooved, preparatory for eying ; 
the lengths are then divided in two, and after burnishing 
the eye, they are hardened by being heated in an oven, and 
subsequently cooled by being plunged into oil. 

This rapid cooling of the steel makes it as brittle as 
glass, and in order to reduce it to a perfect state of elastic- 
ity, it has to be again raised to about six hundred degrees 
and then allowed to cool gradually. 

The process of scouring the needles takes about a week. 
They are mixed with oil, soft soap, and emery powder, 
wrapped in loose canvas, and placed in a kind of mangle 
worked by machinery. The scouring process finished, 
they are washed in hot water and dried in sawdust. 

Finally, they are sorted, wrapped, and labeled. For 
wrapping, purple paper, chemically prepared, is used, be- 
cause it is supposed to prevent rusting. 

181 



Home and School Sewing. 

Scissors. 

Scissors are principally made by hand, but the process 
of making depends somewhat upon the size. Those over 
six inches in length are called shears. 

Scissors are first shaped from a bar of flat steel ; the end 
for the handle or bow is flattened and punched with a small 
round hole, which is gradually opened upon the anvil. 

The blade and joint of the scissors are then made with 
hammer and punch. 

After softening, • the shank and bow are improved by 
filing. The joint is squared, and the hole bored and fitted 
for the rivet. 

The blades are then ground, smooth-filed, burnished, 
matched in pairs, and a temporary screw put in and made 
to walk and talk well, as it is called. 

The blades are then bound together with wire, the rivet 
removed, and they are hardened and tempered. The w T ire 
is then removed, and the blades are ground into shape and 
fitted together ready for use. 

Thimbles. 

The first thimble seen in England was made in London, 
about two hundred years ago, by a metal worker named 
John Lofting. He is said to have acquired a large fortune 
in the manufacture of this new accessory to the needle 
worker's art. This tool was at first called a thumb bell, 
and was worn on the thumb. 

These early thimbles were made of either iron or brass, 
and many specimens of them are preserved as curiosi- 
ties. The best thimbles used at the present time are made 

182 



Home and School Sewing. 

in France. In China, the ladies of high class use very 
dainty thimbles. Some are carved from immense pearls, 
with banjds of fine gold, on which are engraved all sorts 
of fantastic things, the etching of which serves for catching 
the eye of the needle. 

The Queen of Siam has a thimble presented to her by 
her royal husband. It is made of gold in the form of a 
lotus bud, the lotus being the royal flower, and is thickly 
studded with diamonds, so arranged as to form her name 
and the date of her marriage. This gift was equal to an 
order that the ladies of Siam should use thimbles. 

The shape of the thimble has changed very little. The 
majority of sewers prefer what is generally known as the 
closed thimble ; while tailors and those w T ho sew very stead- 
ily prefer the open thimble (that is, one without a top) ; 
and sailors' thimbles take the form of a broad ring, with 
indentations on one side, and w r orn, as was the custom in 
primitive times, on the thumb. 

Gold, silver, iron, steel, pearl, celluloid, and sometimes 
glass are utilized in making thimbles at the present time. 
In manufacturing thimbles, the metal is rolled out into 
thin sheets and cut into round disks. These are put upon 
a die of the desired size and pressed into shape. The edge 
is then rolled up or otherwise finished, and the semi- 
perforations, intended to hold the eye of the needle firmly, 
are made upon the top and part way down the sides. They 
are then tempered and polished in very much the same 
manner as needles. 

Thimbles made of celluloid are molded. 

183 



Home and School Sewing. 
TEACHERS' MANUAL. 



CONTENTS TEACHERS' MANUAL. 



General Suggestions to Teachers : About Materials Used 
in Elementary Work— Suggestions as to Methods— Sam- 
ples — Reviews 189 

Drills : General Suggestions— Drill for Opening and Clos- 
ing Work — Drill for Opening Work— Drill for Closing 
Work—The Thimble Drill— The Cutting Drill— Directions 
to Pupils— The Scissors and their Parts — Position of the 
Scissors While Cutting— Test Correctness of Cutting and 
Review Lines 195 

Basting : Uneven Basting 200 

Plain Sewing : Hemming — Overseaming— A Seam Made 
with Running Stitches— Backstitched Seam— Backstitch 
and Three Running Stitches— Half Backstitching — Over- 
casting — Facings - Slip-Stitching — Milliner's Hem — The 
Plain Fell— French Fell— English Fell — Overseam and 
Fell— German Hemming or German Fell — Reversible 
Seam and Counter Hem— The Gusset— The Placket- 
Cording and Piping — Bindings — Mitred Corners — To Mitre 
the Corners of a Hem — Cutting and Piecing on the Bias . . 201 

Gathering and Bands : Gathering— French or Dress Gath- 
ering—Gathering with a Shell Edge— Shirring— Whipping 
a Ruffle — Plaiting— Bands — Band Hemmed to the Gath- 
ers—Band Overseamed to the Gathers 209 

Mending: Darning— Angular Dress Darn — Strengthening 
Darn — Bias Darn— Stocking- Web Darn— Stocking Darn- 
ing—Patching—Catch-Stitched Patch— Tucking 212 

187 



Contents Teachers' Manual. 

Page 
Fastenings: Buttonholes— Buttons— Loops— Loops of Tape 

—Hooks and Eyes— Eyelet Holes 217 

Decorative Stitches : Feather or Brier Stitch— Catch-Stitch 
—Blanket Stitch— Chain-Stitch— Outline or Stem-Stitch 
— Cross-Stitch— Hemstitching— French Knots or Seeding 

—A Fan of Stitches 220 

A Lesson in Materials : Silk— Cotton— Wool 222 

Spelling Lessons : Lesson No. 1. Terms Used in Sewing- 
Lesson No. 2. Names of Materials 225 

Bibliography : Books Consulted on Sewing— Books Con- 
sulted on Color— Books Consulted on Silk — Books Con- 
sulted on Cotton— Books Consulted on Linen — Books 

Consulted on Wool 227 

A Course of Instruction for Elementary Schools : Third 
School Year— Fourth School Year — Fifth School Year — 
Sixth School Year— Seventh School Year— Eighth School 

Year 230 

188 



Home and School Sewin 



g- 



I. GENERAL SUGGESTIONS TO TEACHERS. 

About Materials Used in Elementary Work. 

The object of teaching sewing in public schools is not 
merely to enable the pupils to cut and make the garments 
they wear, but to dignify manual labor and to help set in 
its proper place this household art, once so commonly prac- 
ticed by woman, and in which she properly took such 
pride. 

The course of instruction given is the one used and ap- 
proved in the Philadelphia schools, and is placed at the 
end of the book, in the hope that it may prove helpful to 
those who are about to introduce the work in new fields. 

In the elementary work, a term or practice piece is used 
because the short seams enable the teacher to keep the work 
of the class uniform. It also furnishes the pupil in the 
higher grades with a model of sewing to which she can 
refer when making a garment. 

In the third school year (that is, first year in sewing), 
the practice piece may be made twelve inches square and 
of unbleached muslin. (Unbleached muslin is used be- 
cause it is soft and easy for untrained fingers to handle.) 

In the fourth school year (second year in sewing), it 

189 



Teachers' Manual. 

should still be made of unbleached muslin, but may be 
changed in shape to nine inches wide and fourteen inches 
long, to allow for the lesson on patching and the gathering 
and sewing on of the band. 

In the fifth year (third year in sewing), it should be 
changed to bleached muslin, and may be made seven inches 
wide and fourteen inches long. Here an additional prac- 
tice piece for buttonholes, eighteen inches long and two 
inches wide, should be started. The children's experience 
should enable them to undertake the making of the seams 
on bleached muslin. 

In the sixth year (fourth year in sewing), the practice 
piece may be five inches ivide and fourteen inches long, 
continuing the buttonhole strip. 

In the seventh and eighth years (the fifth and sixth 
years in sewing), it may be made five inches ivide and a 
yard long. Additional practice should be secured in all 
grades by having garments brought from home and made 
by the entire class. 

In elementary work, colored cotton assists the pupil in 
recognizing and criticising the mistakes in her own work. 
This should be changed to white as soon as the teacher finds 
it advisable. 

In low grades, for short measurements a ruler is fre- 
quently used instead of a tape measure, because the pupil 
is already familiar with it and can handle it with greater 
ease. 

Paper is substituted for muslin for reasons of econ- 
omy. 

In the early part of the term, have each pupil write 

190 



Home and School Sewing. 

iier name and grade on paper and baste it on her practice 
piece. This will serve two purposes — it will enable the 
teacher to frequently collect and examine the pieces, and 
will stimulate the pupil to do work worthy of the name. 

Suggestions as to Methods. 

Especially in the beginning, the teacher should give her 
directions with great care and accuracy, and should see 
that they are carried out with exactness. As a rule do not 
repeat directions, as you thereby encourage inattention; 
make pupils understand that they are to hear as well as 
to see perfectly. 

Make constant use of the blackboard in teaching the 
position of the needle and regularity of the stitch. A 
demonstration frame is used by many teachers in addition 
to the blackboard for this purpose. 

After carefully demonstrating the lesson let the class 
work alone ; this will give you an opportunity of discov- 
ering those who do not understand, and of forming them 
into a separate class, for the purpose of repeating the 
explanation. 

Xever do anything for a child that she can do for her- 
self. Make her feel that you have faith in her ability to 
accomplish what she has undertaken. 

Train the fingers to execute what the mind recognizes 
as work that is good and true. 

Teachers often find the singing of a song by a class a 
great help in the early stages of the work, illustrating the 

principle that as the feet of soldiers may be made to keep 

191 



Teachers' Manual. 

time by marching to music, so the hands of children may 
be trained. 

The tailor recognized this who discovered his men sewing 
slowly when a band in front of his establishment played 
a solemn air, and unconsciously increasing their speed 
when the tune changed. 

Samples. 

Samples of the different stages of the work should con- 
stitute a part of the teacher's outfit, and in lower grades 
it will be found advisable to have one for each desk. 

In all elementary seams the pupil should be required to 
examine and find out all that is possible from the sample. 
By so doing her powers of observation will be trained, and 
she will have a practical subject to talk about. 

Pupils should be given only one sample at a time ; this 
should be studied and copied before the next one is given 
to them. 

Samples interpret the words of the teacher, and give the 
pupil a standard of excellence which must improve the 
quality of her work. 

In order that pupils may understand the exact position 
of both hands and needle, in taking the stitch, the teacher 
should occasionally stand with her back towards her pu- 
pils, her work held up, and show with a large needle and 
cord the method of making it. When this is thoroughly 
understood the pupils should be directed to examine their 
samples for the special characteristics of the stitch. 

Make sure that your pupils have a clear mental picture 

of the seam under consideration. 

192 



Home and School Sewing. 

Reviews. 

Do not underestimate the value of reviews. Remember 
the child learns quickly and forgets easily, unless the facts 
are brought before her whenever opportunity offers. 

In reviewing a subject, call upon the pupils about whose 
knowledge of the subject you are doubtful. 

In higher grades, a general review of seams may be given 
by having a garment cut out of muslin and basted together, 
calling upon individual pupils to name and describe the 
kind of seam that should be used in the various parts of it. 
Encourage your pupils to express an opinion; make them 
understand that there is often a choice in the seam to be 
used ; help them to decide which would be most satisfactory 
in each particular place. 

Test the knowledge of the pupils at the close of each 
subject taught. Suggestions for conducting these tests 
will be found in various parts of the book. 

Require pupils in all grades to express in good English 
all that has been taught. 

Encourage advanced pupils to make collections of mate- 
rials, both in the raw and manufactured state, classifying 
and writing a description of the different fabrics. These 
may be arranged in charts, thus benefiting the entire class. 

Begin, if you have not already done so, either by a scrap- 
book or envelope for clippings, to collect everything that 
is valuable in the way of a picture, story, poem, or fact 
bearing on your subject. Write name of magazine, volume 
and page, together with the name of the author, on each 
clipping. 

The regular teacher will be glad to cooperate with you 
(13) " 193 " 



Teachers' Manual. 

by having a reading lesson in connection with your work ; 
such as "The Making of the First American Flag by 
Betsy Ross," as told in Willson's History Reader. After 
the reading lesson you could show the class how she folded 
and cut the five-pointed star. "The Wonderful Weaver/' 
in Baldwin's Old Greek Stories ; "The Story of Penelope/' 
by Charles and Mary Lamb; or "The Tapestry Weavers/' 
by Rev. Anston B. Chester, and many other stories of ma- 
terials or inventions will be found in the books listed on 

page 227. 

194 



II. DRILLS. 

General Suggestions. 

Drills, properly used, aid both teacher and pupil. 
They enable the teacher to discover her rapid workers and 
also those who are left-handed, or who are slow to respond. 
Drills save time, prevent confusion, secure promptness and 
uniformity of action. 

They should aid in securing correct position — to sit well 
back in the chair ; head up ; both feet on the floor ; elbows 
at the side of the body, with the work not too near the eyes. 
They promote ease and rapidity in handling the tools by 
training the hands to be supple and dextrous. Where 
classes are large they expedite work; in smaller classes 
they may be dispensed with. If drills are kept up too long 
at one time, they tend to make the pupils mechanical and 
cause them to lose interest in what is being done. 

As pupils become expert, the teacher should increase the 
rapidity with which she gives the counts. 

Drill for Opening and Closing Work. 
Bags for holding the work will be found to be a great 
convenience. They should be made of some material that 
can be washed. The dimensions may be twelve inches 
wide and sixteen inches long, with two strings in the top 
so that they may be drawn up and securely tied. 

195 



Teachers' Manual. 

The name of the pupil should be written with ink on 
white muslin and sewed on the centre of the bag. This 
aids the teacher in learning the names of her pupils and 
assists in distributing the work rapidly. 

The bags, when opened, should be placed on the desk 
with the name up. If silicia or chintz of some one color 
be selected for this purpose, it will make the class present 
a better appearance while at work. Each pupil should 
be supplied with a small pincushion, needlebook, and thim- 
ble. The scissors and cotton are usually distributed by 
the teacher at each lesson. 

Drill for Opening Work. 

1. Open the bag. 

2. Take out sewing materials. 

3. Arrange the bag and materials on the desk. 

4. Hold up sew T ing. 

Drill for Closing Work. 

1. Put the needle away. 

2. Fold and hold up sewing. 

3. Place sewing in bag. 

4. Close the bag. 

The Thimble Drill. 
This drill, if properly taught, will enable the pupil to 
sew both easily and rapidly. 

There is no reason why a child should use her hands in 
an awkward and ungainly fashion, when she may be taught 
to use them in an easy and graceful manner. 

196 



Home and School Sewing. 

Children are frequently slow sewers because they are 
not, in the beginning, taught the complete mastery of their 
tools ; therefore, it will be advisable to repeat this drill at 
the opening of each lesson, until the pupils become accus- 
tomed to using the thimble and to drawing the thread 
through quickly. 

Train the pupils to call that part of the thimble that 
touches the back of the finger the back of the thimble. 

After trying the drill two or three times, allow the class 
to rest their hands before attempting again. 

Emphasize the fact that nothing but the thimble should 
be used to push the needle through the work. 

Direct the attention of your pupils to the number of the 
needle and thread they are using, and that these two things 
must suit each other. 

Explain to your pupils how needles, cotton, and sewing 
silk are numbered with regard to fineness and coarseness. 

Read the chapter on needles, cotton, and thimbles, and 
give as much information on these subjects as the age of 
the pupils and the time at your command will warrant. 

The Cutting Drill. 

Try to have your pupils get a mental picture of the inch 
and its parts, and of the yard and its parts. 

Test their knowledge by sending a number of them to 
the blackboard to illustrate the scale. 

Endeavor to train your pupils so that in higher grades 
they w 7 ill know lengths and distances to a certain degree, 
without their rulers. 

Teach terms that you will use throughout all the grades. 

197 



Teachers' Manual. 

In the early stages of the work, have it clearly under- 
stood by the class that the scissors may only be used under 
the direction of the teacher. 

A pair of large scissors in the hands of the teacher will 
assist in making points clear. Any extra work which will 
involve the cutting of fringe in either paper or muslin will 
aid the pupils by helping them to gain control of their 
scissors, and enabling them to cut in straight lines. 

Take advantage of a child's love of color by selecting 
materials for extra work, which she will enjoy, and which 
will look pretty when finished. 

The outcome of this lesson will be a lesson on how to cut 
materials according to a pattern. 

Directions to Pupils. 
Direct the pupils as follows : 

1. Distribute paper. 

2. Examine the ruler and tape measure. 

3. How many inches on the ruler ? 

4. Into how many parts is the inch divided ? 

5. How many inches in a yard; in a half; quarter; 
eighth ; sixteenth ? 

6. Review — What fractional part of a yard is represent- 
ed by 27, 18, 9, 4J, 2 J inches ? 

7. Illustrate by drawing on the blackboard. 

8. Place the long side of the paper parallel with the 
long side of the desk. 

9. Turn the long edge of the paper down one inch. 

10. Feel the edge of the fold; when opened out this is 

called a crease. 

198 



Home and School Sewing. 

11. Open the fold out and feel both inside and outside 
of the crease. See Illustration ~No. 2. ~- 

12. Place the paper flat on the desk with the inside of 
the crease up. (This prevents the scissors from slipping 
to one side when cutting. ) 

The Scissors axd their Parts. 

13. Write the name of the tool on the board. 

14. Write the names of the different parts. 

15. Hold the scissors up and point to the different parts 
as they are named by the teacher. 

Position" of the Scissors While Cutting. 

16. Hold the scissors in the right hand. 

17. Pointed blade down (preferred). See Illustration 
No. 1. 

18. Third finger through the lower handle, thumb 
through the upper handle. 

19. The krwer part of the scissors to be supported and 
controlled by the first and second fingers. 

20. Cut the entire length of the blade. 

Test Correctness of Cutting and Review Lines. 

21. Hold up the cut edge first in a vertical and then in 
a horizontal line. 

22. Crease and cut the half and quarter inch, following 

the directions given above. See Illustration No. 3. 

199 



III. BASTING. 

Materials required: See practical lesson for pupils. 

Samples. 1. Even basting. 

The teacher will need for the lesson in basting one sam- 
ple of even basting and one sample of uneven basting for 
each pupil. Use the samples as a basis for a language les- 
son. As far as possible, have all mistakes corrected and 
omissions supplied by the pupils. 

Emphasize the reason why even basting is so called. 

Uneven Basting. 

Materials required : Same as in even basting. 

Samples. 1. Showing uneven basting. 

Give a short review of even basting. Test pupils' knowl- 
edge of the previous lesson by having several of them draw 
on the blackboard lines representing even basting. Have 
pupils examine samples and notice points of similarity 
and difference. Emphasize the reason why uneven basting- 
is so called. 

200 



IV. PLAIN SEWING. 

Hemming. 

Samples. 1. Hem basted. 2. Hem basted and sewed, 
showing the mending of the thread. 

Teach pupils to recognize the appearance of the hem by 
having them examine those found on their own clothing. 

The folding of the hem is more easily taught by the use 
of paper than muslin, as it enables the pupils to obtain 
better results in the early stages of the work. 

Explain why the work is placed on one finger and not 
over two ; it is easier to hold and helps to make the stitches 
the proper shape. 

In connection with this lesson, the attention of the 
pupils should be called to the fact that the selvage (self- 
edge) of the muslin is the finished lengthwise edge and 
cannot be raveled. 

If practice pieces have not a selvage edge, a vertical 
line should be drawn by the teacher, representing the 
lengthwise of the muslin. 

Distribute samples at the proper stage of the work. 

The lesson on hemming may be made practical by hav- 
ing kitchen towels, bibs, dust caps, etc., brought from 
home and hemmed. 

Have the pupil write the subject of the lesson on the 
board. 

201 



Teachers' Manual. 

Have pupils examine and describe sample No. 1. 

At proper time have them examine and describe sample 

No. 2. 

Overseaming. 

Samples. 1. Seam basted. 2. Seam basted and sewed, 
showing the mending of the thread. Have the pupil ex- 
amine and describe each sample as it is reached. 

In reviewing this seam, teach that it may be made on 
the wrong side also. Make sure that your pupils under- 
stand the reason for holding the muslin in a different posi- 
tion from hemming. The pupils will review this seam 
with pleasure if they are allowed to do it on iron holders, 
flat pocket pincushions — especially the latter — as it intro- 
duces some color into their work. 

A Seam Made with Running Stitches. 

Samples. 1. Seam basted with uneven basting. (This 
sample may be used for all similar seams.) 2. Seam 
basted and sewed. 

In teaching this seam, encourage accuracy and exact- 
ness with regard to the stitch and space ; but as the work 
advances, have the pupils recognize the fact that this seam 
may be done rapidly by taking a large number of stitches 
on the needle at a time before drawing it through. 

Lead the pupils to see that uneven basting is used as a 
line to guide them in sewing straight, just as a blue line 
on paper helps them to keep their writing straight. 

Emphasize the fact that basting is not, as some people 
suppose, a waste of time, but that every part of a garment 

202 



Home and School Sewing. 

must be carefully basted together if you want the whole 
result to be good. 

Have pupils examine and describe sample before be- 
ginning work. 

Backstitched Seam. 

Samples. 1. Seam basted. 2. Seam basted and sewed. 

This seam requires time and patience to do it well, but 
the teacher will find that it is good training for higher 
grade work. 

Review the preparation of the running seam and apply 
it to this one. 

Have the pupils examine sample No. 1 and prepare and 
baste as for running seam, and then examine sample No. 2. 

Backstitch and Three Running Stitches. 

Samples. 1. Seam basted. 2. Seam basted and sewed. 

This seam should follow the lesson on the running and 
backstitched seam, as it is a combination of the two. The 
pupil should arrange material and baste as for running 
stitches before examining and describing sample No. 2. 

Make pupils understand that the number of running 
stitches may be increased if a very strong seam is not 
desired. 

Half Backstitching. 
Samples. 1. Seam basted. 2. Seam sewed. 
Give pupils experience in these seams by allowing them 
to sew up the seams in aprons and skirts. Teach them to 
sew gored seams by beginning at the bottom and sewing to 
the top. 

203 



Teachers' Manual. 

Overcasting. 

Sample. 1. Seam sewed and overcast. 

Direct the attention of the class to the fact that the stitch 
resembles hemming on a large scale, and that it requires 
the same attention to the slant, size, and space between the 
stitches. 

Emphasize the difference between overseaming and over- 
casting. 

Facings. 

Samples. A garment used by the teacher to demonstrate 
the lesson will take the place of a sample. A little talk on 
the kinds of materials used in facing dresses and their rel- 
ative values might be introduced here. 

Slip-Stitching. 

Sample. 1. Slip-stitching completed. 

Teach that slip-stitching is never used on w 7 ash materials, 
and had better be reserved for places where there is very 
little strain. 

Milliner's Hem. 

Sample. A large sample in the hands of the teacher. 
Illustrate method of making on the blackboard. 

The Plain Fell. 
In lower grades, the plain fell should be made on un- 
bleached muslin ; in higher grades, a narrower fell, both 
bias and straight, should be taught and bleached muslin 
used. 

Samples. 1. Showing arrangement of material, and 

204 



Home and School Sewmg. 

basting. 2. Sewing of first part. 3. Basting of second 
part and hemming. 

Show by blackboard illustration the importance of hav- 
ing the edge extend the same distance at all points. See 
Illustration Xo. 24. 

Examine the basting of each pupil before taking up the 
next step. 

Test your pupils' powers of observation by having them 
describe the sample, and draw it on the board. 

French Fell. 

The searn may be reviewed by having the class compare 
it with the plain fell, and by writing on the blackboard 
each step as it is given. 

The oral review may be followed by a written exercise to 
encourage the pupils to express their thoughts in clear, 
concise language, as in the table given in the lesson on the 
French fell, page 52. 

Samples. 1. Sample basted with uneven basting and 
sewed with a backstitch and one running stitch. 2. Sec- 
ond part of seam basted with uneven basting and sewed 
with a backstitch. 

English Fell. 
Samples. 1. First part of seam turned, basted, and 
sewed. 

Overseam and Fell. 
The preparation of this seam may be taught by using 
paper. Samples. 1. Sample turned, basted, and first part 
sewed. 

205 



Teachers' Manual. 

German Hemming or German Fell. 

Samples. 1. First part of seam turned, basted, and 
sewed. 2. Second part of seam sewed. 

Test the pupils' knowledge of all these fells by giving a 
number of samples to each one, and have the name of each 
fell written on it, or have a written description of the 
various fells. 

Reversible Seam and Counter Hem. 

Sample. 1. Sample, basted and sewed. 

The Gusset. 

Sample. 1. Gusset completed. 

Teach the shape. 

Teach it first on a large scale, using either paper or 
material with a right and wrong side to it, so that the en- 
tire class may follow each step. 

Use material eight or ten inches square, and send sev- 
eral pupils to the blackboard to make a drawing of each 
step. 

Encourage pupils to be accurate by approving of those 
who follow exactly your dimensions. 

Let them draw the square out of which you are going to 
make the gusset and then the shape of the gusset when cut. 
Direct the attention of the class to the fact that the gusset 
has five sides. 

Tf possible, review the gusset by having a garment made 
which will require a gusset to complete it. 

The teacher must be guided by her pupils' needs in the 
number of samples required, but if close attention is given 

206 



Home and School Sewing. 

to the directions and good use is made of the blackboard, a 
sample of the gusset completed should be sufficient. 

The Placket. 
Instead of teaching this on the practice piece, if possible 
have each pupil make a petticoat and give the lesson direct- 
ly on the skirt. 

Cording and Piping. 
Sample. 1. Cording completed. 

Bindings. 
Sample. 1. Seam completed. 

Mitred Corners. 

Samples. Use blackboard illustration instead of sam- 
ples. 

Illustrate the cutting of the corners by drawing a square 
on the blackboard and show how it should be divided. Call 
attention to the various articles in the room where corners 
are made in this way. -For instance, the corners of black- 
board and picture frames. 

This may be made an opportunity for reviewing a true 
bias. 

To Mitre the Corners of a Hem. 
Sample. 1. Sample in the hands of the teacher. 
Show the class, either by your own sample, or by allow- 
ing each pupil to experiment with her own material, the 
advantage gained by cutting out the surplus material and 
finishing the corner in this way. 

207^ 



Teachers' Manual. 

Cutting and Piecing on the Bias. 

Sample. 1. Seam basted. 

Illustrate each step on the blackboard as it is taken by 
the pupil. Printed calico, having a right and wrong side, 
will also aid in teaching the lesson. Explain the difference 
between a true bias and a bias or gored seam. (See Illus- 
tration 'No. 41.) Show how a bias edge may be stretched 
if necessary. 

Review the lesson by having pupils cut and place mate- 
rials together (paper will answer), and by having them 
tell you where straight and bias bindings, facings, and 

seams should be used. 

208 



V. GATHERING AND BANDS. 

Gathering. 

Sample. 1. Sample of material marked and gathering 
done. 

Teach the importance of neatness by having the sides 
of the practice piece hemmed before gathering. 

After the pupil is perfectly familiar with hemming, it 
is often advisable merely to baste the hem in order to save 
time. 

Have a drawing of the material to be gathered placed 
on the board ; have the pupils tell the different ways of 
marking the centre (with a notch, cross-stitch, or pin). 

Do not allow pupils to count the threads after the first 
stitches have been taken and they have an idea of the size 
of the stitch. 

French or Dress Gathering. 

Sample. 1. Material gathered. 

The attention of the pupils should be directed to the 
fact that special care is required in beginning and end- 
ing this gathering so that it may be both strong and neat. 

Gathering with a Shell Edge. 
Sample. 1. A sample of gathering completed. 
Send pupils to the blackboard and have them illustrate 
from dictation the preparation necessary for this lesson. 
Examine and describe sample. Use single thread. 
(14) 209 



Teachers' Manual. 

Shirring. 
Sample. 1. A large sample in the hands of the teacher. 
In teaching this lesson, it may be found advisable to 
mark the line for the shirring with uneven basting. 

Whipping a Ruffle. 
Sample. 1. A large sample in the hands of the teacher 
and a chart or drawing on the blackboard, showing the 
illustration on a large scale. 

Plaiting. 
Sample. 1. Plaiting folded and basted. 

Bands. 

Samples. 1. Sample of gathering basted and back- 
stitched to a band. 2. Band finished by hemming. 

In this lesson, the difference between the warp and the 
woof may be reviewed, and the fact that the quality of any 
fabric depends largely on the uniform strength of these 
two threads. 

Have pupils test the strength of the material and see 
that it is stronger lengthwise than crosswise ; consequently 
bands niust always be cut with the warp. 

Let each pupil make this experiment for herself and 
draw her own conclusions. 

Band Hemmed to the Gathers. 
Sample. 1. Gathering sewed to the band (first sewing). 
After making this band, have a review of the band back- 
stitched to the gathers. Write in a concise form on the 

210 



Home and School Sewing. 

blackboard the various steps as obtained from the pupils. 
As a conclusion to the lesson, a composition might be writ- 
ten on the method of gathering and sewing on the various 
bands. 

Encourage the pupils to illustrate such a composition. 

Band Overseamed to the Gathers. 

Sample. 1. Band completed. 

211 



VI. MENDING. 

Darning. 

Sample. 1. Sample of correctly made darn, showing 
outline stitches. 

In all work of this character, emphasize the importance 
of selecting a needle which can carry the thread easily. 

Teach, by a diagram on the blackboard, how to make the 
boundary line or fence of uneven basting, defining the 
length and width of the darn. See Illustration No. 81. 

In the elementary lessons, silk or wool of a different 
color from the goods will help the w r ork, making the stitches 
more easily seen and the errors more quickly detected. 

Have the class make a cut (one inch) representing a 
straight tear. 

Angular Dress Darn. 

Sample. 1. Darn outlined and completed. 

Review facts about darn in previous lesson. Unite the 
home and school by having garments requiring mending 
brought to school and properly repaired. 

Teach by a diagram on the blackboard corresponding to 
Illustration 'No. 61. 



Strengthening Darn. 

Sample. 1. Darn completed. 

212 



Home and School Sewing. 

Bias Darn. 

No sample is required. 

Draw, or have pupils draw, a diagram on the blackboard 

showing the outline required. Have the outline filled in 

with lines representing darning stitches. See Illustration 

No. 63. 

Stocking- Web Darn. 

Sample. 1. Sample completed. 

Stocking Darning. 

Sample. 1. A carefully made darn. 

Teach the principle of weaving by having a large kin- 
dergarten map or chart of paper to illustrate the picking 
up and dropping of every other stitch. The blackboard 
may be used in a similar manner, using colored chalk to 
illustrate the weaving; or, better still, give a small piece 
of stiff card to each pupil, say three by four inches; on 
the upper and lower edge make a row of dots directly op- 
posite each other ; pierce a small hole through each dot. 
Thread a worsted needle with some bright-colored zephyr, 
make a knot, and bring the needle up through the first 
hole. Carry the worsted down to the hole directly below, 
and take the needle through to the wrong side, bringing 
it back through hole No. 2, and then to top again and so 
on, until all the warp threads are in ; fasten securely on 
the wrong side. 

Thread a needle with a contrasting color for the woof 
thread and begin to fill in, going over the first thread and 
under the second, etc. ; make clear the fact that each row 
must alternate with the one above it. 

213 



Teachers' Manual. 

The woof thread, passing through the warp thread at 
each side, forms the selvage edge. 

Emphasize the fact that it is not advisable to use a ball 
of any sort in darning, as it is apt to stretch the stocking 
out of shape. Select a small hole as the one to be darned. 
Teach that all holes should be darned while they are small. 

Have pupils note the peculiarity of the weave of the 
stocking (imitation of knitting) ; they will find it to be 
loose and elastic ; have them compare it with their muslin. 

Ask for the names of other garments which should be 
repaired in this way instead of patching, because the weave 
is similar to the stocking ; for instance, merino underwear, 
leggings, w 7 oolen or cotton gloves, knitted caps, etc. 

Have pupils compare the darning cotton and needle with 
spool thread and ordinary needle, and note the difference. 
See that each pupil makes her own comparisons and de- 
ductions. 

The interest in the work may be increased by mounting 
the best darns and hanging them in the class room for a 
limited time. Or a book may be made in which each child 
may be represented by a darn and a patch. 

Patching. 

Samples. 1. Showing the patch basted. (This may be 
done in paper.) 2. A sample showing the last stage of the 
patch (in muslin) basted and hemmed. 

Charts prepared before the lesson, or patches of con- 
trasting colors hung around the room, will aid in making 
points clear. 

The lesson may be made practical by the teacher using 

214 



Home and School Sewing. 

a suitable garment requiring mending to illustrate the 
lesson. 

Make the class understand that their practice piece rep- 
resents your garment. 

Send several pupils to the blackboard to illustrate each 
step of the work. 

Show them by using a patch on a much larger scale than 
that used by the class how to turn the corners. See Illus- 
tration No. 69. 

Be careful to stand in such a position that the class may 
see each step of the work. 

In order that patching may be done successfully, pupils 
must know how to distinguish the difference between the 
warp and woof threads. 

By drawing out and examining both threads, they Will 
discover that the woof threads present a somewhat crimped 
appearance, while the warp threads are harder twisted and 
comparatively straight ; that the warp threads are parallel 
with the selvage of the material. 

When there is no direct means of knowing the position 
of the selvage edge, the w T arp threads may be discovered by 
pulling the material in different directions; as the warp 
threads are the stronger, they will yield less than the woof, 
and can thus be detected. In this connection, emphasize 
the fact that the strength of the muslin depends on the 
strength of these two threads; the closeness with which 
they are put together and the relative weight and quality 
of the two. 

The fact that patching has an economical and moral 

side should not be forgotten. Train pupils to feel that 

215 



Teachers' Manuul. 

there is a dignity about a neatly made patch. Impress 
upon them the fact that both time and materials are saved 
by mending a garment as soon as the hole appears; in 
short, that a a stitch in time saves nine." 

This lesson should be reviewed first in bleached muslin, 
using finer needles and thread, and then in materials of 
various prints and weaves, in order to teach how to match 
such fabrics. 

Catch-Stitched Patch. 
Sample. 1. Patch completed. 

Tucking. 

Sample. A large sample in the hands of the teacher 
will be all that is necessary. 

To make the measure, have each pupil take a piece of 
paper and fold it to make a stiff edge. (Stiff cardboard 
answers very well.) 

Illustrate on the board first, making a measure for a 
wide tuck and space ; change these until the pupils thor- 
oughly understand this step. 

A few moments spent by the teacher in examining each 
pupil's measure will save many mistakes later on. Em- 
phasize the fact that only straight cuts are to be used, and 
that the notches are merely intended to allow the worker 
to see what her needle is doing. 

Have pupils examine their clothing and find that tucks 
are made on the right side. In higher grades, the pupils 
should be able to decide on the size of the tuck and the 
proper space. 

216 



VII. FASTENINGS. 

Buttonholes. 

Samples. 1. The buttonhole stitch. 2. A buttonhole 
cut, overcast, and barred. 3. A buttonhole completed. 

Before cutting the buttonhole, it will be necessary to 
give the class some training in making the stitch. This 
may be done by having them make the stitch on the folded 
edge of their buttonhole strip. 

After the stitch has been practiced, have the class try 
the cutting of the buttonhole, first on paper and then on 
muslin. Have them examine sample JsTo. 2. 

Emphasize the necessity of watching both the inner and 
the outer edge of the buttonhole with regard to evenness 
and uniformity of the stitch. Have them examine sample 
No. 3. 

Train the pupils in higher grades to work rapidly ; this 
may be done by proving to them that they can, by trying, 
draw the thread through quickly, and that this is where 
time should be saved, rather than in the putting in of the 
needle. 

If the thimble drill has been carefully taught, it will 
greatly help the pupil in this stitch. 

After several buttonholes have been made, review the 
subject by placing the following headings on the black- 
board and having pupils write a paper containing the 
answers : 

217 



Teachers' Manual. 

1. Define a buttonhole. 

2. What determines the size ? 

3. What controls the number ? Ask the pupil to give 
reasons. 

4. Define position with regard to right and left ; to right 
and wrong side of garment. 

5. Where made vertically ? Where horizontally ? 

6. Give facts about marking the place for the button- 
hole. 

7. Give rule for correct cutting. 

8. Name the various stitches used in making a but- 
tonhole. 

9. Show by illustration where it should be begun. 

10. Tell how you would work the buttonhole. 

11. What is the name of the edge ? 

12. Describe mending the thread. 

Further test the pupils' skill by having them try to 
make buttonholes on woolen material. 

Note.— The spacing of buttonholes may be taught on a strip of paper or a 
drafted pattern, using a pencil to mark the place for the buttonholes, and after- 
wards taught on the buttonhole strip, by spacing marked with uneven basting 
stitch. See Illustration No. 81. 

Buttons. 

Samples. Use blackboard illustration instead of sam- 
ples. 

It would be well for the teacher to use a waist which is 
ready for the buttons as a help in demonstrating this lesson. 

Loops. 

Sample. 1. Loop completed. 

218 



Home and School Sewing. 

Loops of Tape. 

Sample. A large sample in the hands of the teacher, to- 
gether with blackboard illustrations. 

Hooks and Eyes. 

Samples. Large hook and eye in the hands of the 

teacher. 

Eyelet Holes. 

Sample. Eyelet hole completed. 

219 



VIII. DECORATIVE STITCHES. 

Feather or Brier Stitch. 
Sample. Three or four inches of stitch completed. 

Catch- Stitch. 
Sample. Three or four inches of seam completed. 

Blanket Stitch. 
Sample. Stitch completed. 

Chain-Stitch. 

Sample Stitch completed. 

Outline or Stem-Stitch, 

Sample. Stitch completed. 

Cross-Stitch. 

Sample. Let an illustration on the blackboard take the 
place of a sample. 

In marking linen, it will help beginners if a piece of 
fine scrim is basted carefully over the place; after making 
the stitches, the threads of the scrim should be drawn out. 

Hemstitching. 
Samples. Hemstitching in coarse grade of linen, show- 
ing the number of threads taken on the needle. 

220 



Home and School Sewing. 

French Knots or Seeding. 
Sample. One large sample in the hands of the teacher 
to illustrate the lesson. 

A Fan of Stitches. 

Sample. Illustrate each step on the blackboard, instead 
of using a sample. 

Pupils will improve their work if they are allowed to 

exchange silks, and by so doing get experience in making 

the stitches in various colors. 

221 



IX. A LESSON IN MATERIALS. 

Study the chapter on names and descriptions of woven 
materials. 

Make large charts of materials illustrating the subject. 

If possible, have pupils examine the different fabrics 
with the microscope to discover peculiarities of weave and 
difference in value. Teachers will be surprised to find how 
far-reaching such a lesson may become. 

Use the materials brought from home for lesson on darn- 
ing and patching as a foundation for the lesson. Let each 
pupil write the name of her material on the board. If it 
is cashmere, have the twilled appearance shown on the 
board. Direct the attention of the class to the fact that 
the weave is plain on the wrong side ; that it is generally 
all wool; that it is soft and light in weight. Show them 
a piece of merino ; ask for points of similarity and differ- 
ence. A piece of challis might be next used for compari- 
son. 

Ask which is most suitable for a winter dress ? Which 
for summer ? Which will wear the longest ? Why ? Is 
there any difference in the material out of which they are 
woven ? 

Try to awaken an interest in the different kinds of fab- 
rics. Have pupils tell you the names of the different mate- 
rials with which they are familiar. Have each pupil write 

222 



Home and School Sewing. 

the name she gives you on the board; see that these un- 
familiar words are spelt correctly ; obtain from them a de- 
scription of fabrics named. Classify them as All Wool; 
Silk; Cotton; or Linen, Figured, Plain, Twilled, Rough 
or Smooth Surface, etc. 

Explain to the class the advantages and disadvantages of 
mixed fibres in manufacturing. Assign this subject to be 
carefully prepared for a future lesson. Ask them to find 
out, if possible, why each fabric has its particular name 
given it, and in what country it is manufactured, etc. 
Hold them responsible for as many facts as possible. 

Silk. 

Before taking up the subject, it may be well to give the 
meaning of some of the common terms used in Silk Cul- 
ture : 

Sericulture, the art of raising silkworms, from the Greek 
word serikon, silk. 

Sericulturist, a person who raises silkworms. 

Cocoonery, a house in which the worms are reared or 
raised. 

Education, the art of educating or rearing silkworms. 
A term of general use in silk-growing countries. 

Grain, silkworm eggs. 

Gloss silk, the loose silk that envelops the cocoons. 

Raw silk, the silk as it is reeled from the cocoons. 

Tram, shute or woof; two or three threads of raw silk 
twisted loosely two or four times to the inch. In weaving, 
the woof has little or no strain upon it, and it fills up the 
warp better by being soft and loose. 

223 



Teachers' Manual. 

Organzine, or warp ; the silk for this purpose is tightly 
twisted to promote strength and durability in the fabric; 
hence the finer and more regular threads are used for this 
purpose. 

Cotton. 

The following questions will suggest an outline that 
might be used in giving the class a written exercise on 
cotton : 

What is the shape of the shrub? How many kinds of 
cotton plants are there ? What is the shape and color of the 
blossom ? How many petals has it, and how long does it 
last ? When is the seed planted ? When is cotton ripe ? 
Describe the appearance of a cotton field. Where does the 
best cotton grow ? Which is the oldest cotton-producing 
country? What other countries are great cotton pro- 
ducers ? What is the first process through which it passes 
in preparing it for the market ? 

Children might be given cotton seed and encouraged to 
plant them. Have a talk on the kind of soil necessary, etc. 

Wool. 

The names of the different fabrics and their meaning 
and origin will prove an interesting study in advanced 
classes, and may be used as an introduction to a lesson on 
shopping. 

This lesson should be supplemented, if possible, by an 

examination and comparison of materials brought for this 

purpose by both pupils and teacher. 

224 



X. SPELLING LESSONS. 



The new words taught should be a feature of each new 
subject, and might also be included in the regular spelling 
lesson. 



Lesson 


No. 1. Terms Used in Sewing. 


apex 


filling 


needle 


arm's eye 


gathering- 


netting 


backstitch 


gusset 


notched 


basque 


hackling 


outline-stitch 


baste 


herringbone stitch 


overseam 


bias 


hooks 


pentagon 


blades 


horizontal 


placket 


blanket stitch 


inside 


plaiting 


bodice 


interlinings 


puckered 


boning 


join 


purl edge 


brier stitch 


junction 


raveled 


casings 


knees 


repaired 


catch-stitch 


knitting 


reversible 


cording 


knot 


sample 


cotton 


left 


scallop 


counter-hem 


long 


scissors 


crease 


loom 


scutching 


cross-stitch 


machine 


seam 


cutting 


manufacturing 


selvage 


diagonally 


material 


sewing 


drafting 


measure 


shoulder 


even 


mending- 


slip-stitch 


facing 


mitre 


spaces 


feather-stitch 


muslin 


spinning 


(15) 


225 





Teachers' Manual. 



steel 


thread 


vertica 


stem-stitch 


thumb 


waist 


straight 


twine 


warp 


strengthened 


twist 


weaker 


stretched 


unbleached 


weaving 


stronger 


uneven 


weft 


strings 


union 


whalebone 


tape 


unite 


woof 


thimble 


vent 




Lesson 


No. 2. Names 


of Materials. 


armure 


damasse 


merino 


batiste 


diagonal 


mohair 


bayadere 


dimity 


moire 


beige 


drap d'ete 


muslin 


boucle 


examine 


percale 


bourette 


flannel 


pique 


broadcloth 


foule 


plaid 


calico 


frise 


poplin 


cambric 


galatea 


sateen 


cashmere 


gingham 


satin 


challis 


gloria 


serge 


checks 


grenadine 


surah 


chene 


gros grain 


taffeta 


cheviot 


henrietta 


twill 


corduroy 


holland 


velours 


covert cloths 


matelasse 


velveteen 


crepon 


melange 

226 





XL BIBLIOGRAPHY. 

In the preparation of this work, the author has con- 
sulted the books named in the following lists. The teacher 
who wishes to make a thorough study of the subject is 
urged to read as many of them as possible, and to supple- 
ment the hints given in this book by familiar talks adapted 
to the pupils' intelligence on the special subjects which 
arise from day to day in class-room work. 

Books Consulted on Sewing. 

Book of Needlework Beeton, S. O. 

Plain Needlework and Knitting, 

Brielzke, H. K., and Rooper, B. F. 

Practical Dressmaking Boughton, Mrs. J. 

Home Needle Church, Mrs. E. B. 

Columbia Sewing Book Cornwall, E. 

Elementary Needlework Glaister, Elizabeth 

School Needlework Hapgood, O. C. 

Progressive Lessons in Art and Practice of Needlework, 

Johnson, C. F. 

How to Teach Plain Needlework Jones, E. G. 

Illustrated Sewing Primer Kirkwood, L. J. 

Suggestions for Sewing Schools Patterson, Jessie 

Needlework and Cutting Out Stanley, Kate 

Handbook for Sewing .School Teachers. Whittaker 

Needlework, Knitting, and Cutting Out Kosevear, E. 

Household Sewing and Home Dressmaking. .. .Banner, Bertha 

227 



Teachers' Manual. 

Needlework for Student Teachers Smith, Amy K. 

Home Dressmaking Myers, Annie E. 

The Elements of Modern Dressmaking Illustrated, 

Davis, Jeannette E. 

Books Consulted on Color. 

Color Sense .Allen, Grant 

Color in Woven Designs Beaumont, Robert 

Color in the Kindergarten Bradley, Milton 

Color in the School Room Bradley, Milton 

Color, Dress and Needlework . . Crane, Lucy 

Laws of Contrast of Color .Chevruel, M. E. 

Color: An Elementary Manual for Students. .. .Church, A. H. 

Students' Text-Book on Color Rord, O. N. 

Well-Dressed Women (chapter on Color) Ecob, Mrs. H. G. 

The Scottish Clans and Their Tartans Johnson 

Art as Applied to Dress, with Special Reference to 

Harmonious Coloring Higgins 

Dress Mrs. Oliphant 

Grammar of Ornament Jones, Owen 

Art and the Formation of Taste Crane, Lucy 

Books Consulted on Silk. 

Silk Culture Johnson, Mary E. 

Silk Culture Bowman, F. H. 

Silk Culture Chart Monotuck Silk Co. 

Silk Industries in France Berge, Albert 

Silk Fabrics (in Art Manufactures of India). .Muskliayi, F. H. 

Textile Fabrics. Rock, Rev. Daniel 

Woven Stuffs Birdwood, C. C. M. 

A Skein of Silk Kitchen, W. C. 

Journal of Education Vol. XLV, p. 109 

Structure of Fibres, Yarns, and Fabrics Posselt, E. A. 

Instruction Book in the Art of Silk Culture, 

Women's Silk Culture Association in the IT. S. 
22S 



Home and School Sewing. 

Books Consulted on Cotton. 

The Cotton Fibre, Its Structure, etc Monie, Hugh 

The Structure of the Cotton Fibre Bowman, D. F. H. 

Article on Cotton Eaton, Seymour 

Cotton from Seed to Loom Dana, W. B. 

Pamphlet on the Growth of Cotton and Manufacture " 

into Spool Thread The Willimantic Co. 

About Cotton Robinson, L. S. 

Cotton Fabrics (in Art Manufactures of India), 

Mukhayi, T. W. 

Textile Fabrics Rock, Eev. Daniel 

Woven Stuffs (Industrial Arts of India). . . .Birdwood, C. C. M. 

Story of Cotton (Kindergarten Stories) Wiltse, S. E. 

Stories of Invention (Sketch of Eli Whitney) Hale, E. E. 

The Romance of Industry and Invention Cochran, Robert 

Books Consulted on Linen. 

Revival of Hand Spinning and Weaving in Westmore- 
land Century Magazine, Vol. XV, pp. 521-527 

Journal of Education Vol. XLV, p. 177 

Story of the Flax Anderson, H. C. 

Books Consulted on Wool. 

Textile Fabrics Rock, Rev. Daniel 

Woolen and Worsted Manufacture Beaumont, Robert 

Structure of the Woolen Fibre Bowman, F. H. 

Wool and Manufacture of Wool Bureau of U. S. Statistics 

The Woolen Thread, Its Nature and Use . . . Vickerman, Charles 
Wool from Fleece to Card and from Card to Fabric, 

Search, Theodore C. 

Encyclopaedia of the Industrial Arts Spon, E. and F. X. 

Journal of Education Vol. XLV, p. 40 

229 



XII. A COURSE OF INSTRUCTION FOR ELE- 
MENTARY SCHOOLS. 

This course is arranged for two lessons of forty-five 
minutes each per week, in the third and fourth school 
years, and one lesson of fifty minutes each in the fifth, 
sixth, seventh, and eighth years. It has had the test of 
seventeen years' practical use in the public schools of Phil- 
adelphia. 

Third School Year. 

First Year in Sewing — First Half. 

Position. — The proper position of the body during 
sewing. 

The correct method of using the thimble finger, the first 
finger, and the thumb of the right hand. The proper posi- 
tion of the left hand for holding the work. 

Drill. — Drill in the method of threading the needle. 

Drill in the proper method of taking a stitch and of 
drawing the thread through the material. 

Teach the correct way of holding the scissors for 
cutting. 

Sewing. — 1. Hemming. — (a) Turning the hem; (b) 
basting the hem ; (c) sewing the hem. 

*A book on drafting and cutting of garments will be published in the near 
future. 

230 



Home and School Sewing. 

Teach the pupil how to begin basting, how to fasten the 
thread when beginning a hem, the slant of the stitch, and 
the direction of the needle in hemming. 

Teach the method of fastening a new thread in the 
progress of a hem. 

2. Overseaming. — Overseaming on turned edges. Teach 
how to fasten the thread in beginning this seam, and how 
to fasten a new or broken thread. 

Cutting. — Teach pupils to cut to a straight line. 

First Year in Sewing — Second Half. 

Review work of preceding grade. 

Special attention to be given to the proper use of thimble 
and scissors, to threading the needle, and to the direction 
of the needle in basting, hemming, and overseaming. 

Sewing. — Running seam (uneven basting to be used 
for this seam) ; backstitch seam; backstitch and running 
seam ; half backstitch seam ; the raw edges of all seams to 
be overcast. Towels, napkins, and desk covers may be 
hemmed. 

Sewing bags, pillow slips, oversleeves, iron holders, and 
bibs, to be made. 

Drafting. — Bibs and simple straight waists with strap 
over the armholes. 

Fourth School Year. 
Second Year in Sewing — First Half. 
Review work of preceding grades. 

Special attention to be given to the proper use of thimble 
and scissors, to the threading of the needle, and to the 

231 



Teachers 5 Manual. 

direction of the needle in basting, hemming, and over- 
seaming. 

Sewing. — Reversible seam. 

Plain fell sewed with running stitch, strengthened by 
occasional backstitch finished with hemming. 

Square patches. 

Sheets and tablecloths to be hemmed. Pillow slips, 
dust caps, penwipers, underwaists with seam over the arm, 
to be made. Books to be covered. 

Pour-holed buttons to be sewed on. 

Drafting. — Yokes; underwaists with seam over the 
arm ; underwaists with seam under the arm ; covers to fit 
books. 

Second Year in Sewing — Second Half. 

Review the work of the preceding grades. 

Special attention to be given to the plain fell. 

Sewing. — Gathering. — (a) Placing or stroking the gath- 
ers ; (b) sewing the gathers on a band, using half back- 
stitching, the band to be finished with hemming. 

Darning. — (a) Stocking darning; (b) dress darning 
(straight line). 

Plain aprons, children's dresses with yokes, children's 
aprons with waists and skirts, infants' night dresses, to be 
made, worn garments to be mended. 

Drafting. — Underwaists with under arm and shoulder 
seams ; drawers ; children's aprons with waists and skirts, 
children's dresses with yokes, infants' night dresses. 



232 



Home and School Sewing. 

Fifth School Year. 
Third Year in Sewing. 

Review the work of preceding grades. 

Sewing. — Making narrow hems and fells ; tucks 
(threads should not be drawn to secure straight tucking) ; 
stocking darning, patching, and angular dress darning; 
French fells ; angular patch made ; fine gathering with 
band hemmed to gathers. 

Buttonhole. — (a) Cutting; (b) overcasting cut edges; 
(c) barring; (d) buttonhole stitch; (e) mending the 
thread. 

Drawers, combing caps, shoe bags, stocking bags, aprons, 
underwaists, and plain skirts, to be made. 

Drafting. — Drawers, underwaists with one dart with 
spring to fit the hip. 

Sixth School Year. 
Fourth Year in Sewing. 
Review work of preceding grades. 

Sewing. — Special attention to be paid to buttonholes; 
bias seams of all kind ; gussets ; stockings resoled ; herring- 
bone stitch and feather-stitch for flannel garments; but- 
tons without eyes or shanks to be sewed on ; circular patch 
made. 

Gored skirts, chemises, blouse waists, nightshirts, and 
flannel skirts, to be made. 

Drafting. — Gored skirts, chemises, dress sleeve, night- 
shirt, blouse waist. 

233 



Teachers' Manual. 

Seventh School Year. 
Fifth Year in Sewing. 
Eeview work of preceding grades. 

Sewing. — French gathering, gathers to be overseamed 
to a band ; buttonholes with tailor finish ; cutting, fitting, 
and making plain garments. 

Special attention given to nightdresses, men's shirts, 
and nightshirts. 

Eighth School Year. 

Sixth Year in Sewing. 

Review the work of preceding grades. 

Sewing. — Cutting, fitting, and making garments of all 
kinds. 

Special attention to men's shirts and to dresses to fit 

pupils. 

Drafting. — Dress waists, skirts, and sleeves. 

234 



OCT 11 1901 



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